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ART  IN   NORTHERN   ITALY 


^HL^/.?;. 


ARS    UNA  :    SPECIES    MILLE 
GENERAL   HISTORY    OF    ART 


Unifcam  with  this  Volume 

Already  Published  :  — 

THE   HISTORY   OF   ART   IN    GREAT 
BRITAIN   AND    IRELAND. 

By  Sir  W2ilter  Armstrong. 

■For  Immediate  Publication  :  — 
THE  HISTORY  OF  ART  IN  FRANCE. 

By  Louis  Hourticq. 

THE  HISTORY  OF  ART  IN  FLANDERS. 

By  Max  Rooses. 
(Director  of  Plantin  Moretus  Museum,  Antwerp. ) 

THE  HISTORY  OF  ART  IN  EGYPT. 

By  G.  Maspero. 
(Director  of  Ghizeh  Museum.) 

In  Preparation  :  — 

BYZANTINE  ART. 

THE  ART  OF  INDIA. 

GERMAN  ART. 

THE  ART  OF  GREECE. 

ART  IN  HOLLAND. 

THE  ART  OF  CHINA  AND  JAPAN. 

ART  IN  NORTH  AMERICA. 

ROMAN  ART. 

THE  ART  OF  SOUTHERN  ITALY. 

SPANISH  AND  PORTUGUESE  ART. 


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ARS    UNA:    SPECIES    MILLE 
GENERAL  HISTORY  OF  ART 


ART    IN 

NORTHERN  ITALY 


Wi\\s&  VnmxiotO 
(saimV  .nrri  aril  lo  ibluiO^ 


NEW  YORK 
-CP TP^TiTR'S  SOxNS 


^■■■■■■■J 


d 


ARS    UNA:   SPECIES    MILLE 
GENERAL  HISTORY  OF  ART 


ART    IN 

NORTHERN  ITALY 


CORRADO    RICCI 

DIRECTOR   GENERAL  OF    FINE   ARTS   AND    ANTIQUITIES   OF   ITALY 


NEW  YORK 

CHARLES  SCRIBNER'S  SONS 

MCMXI 


Copyright,  1911,  by 
CHARLES  SCRIBNER'S  SONS 


This  volume  is  i>ublished  simultaneously  in 
America  by  Charles  Scribner's  Sons,  Neiu 
York  ;  in  England  by  William  Heinemann, 
London;  also  in  French  by  Hachette  et  Cie, 
Paris;  in  German  by  Julius  Hoffmann, 
Stuttgart;  in  Italian  by  the  Istituto  Italiano 
D'Arti  Grafiche,  Bergamo;  in  Spanish  by  the 
LiDRERiA  Gutenberg  de  Jos6  Ruiz,  Madrid. 


Art  Library 

/f// 

CONTENTS 


CHAPTER  I 

PAGE 

RAVENNA  AND  BYZANTINE  ART I 

CHAPTER  II 

VENICE— ARCHITECTURE    AND     SCULPTURE.     FROM    THE     FIRST 
BEGINNINGS  TO  THE   END  OF  THE  FIFTEENTH  CENTURY       .      12 

CHAPTER  III 

VENICE-ARCHITECTURE  AND  SCULPTURE  FROM  THE  SIXTEENTH 

TO  THE  EIGHTEENTH  CENTURY 29 

CHAPTER  IV 
VENICE-PAINTING :    THE  SCHOOLS  OF  VENICE  AND  MURANO  .      .      38 

CHAPTER  V 
VENICE— THE  BELUNI  AND  THEIR  SCHOOL 50 

CHAPTER  VI 

VENICE— THE    PAINTING    OF    THE    SIXTEENTH    CENTURY    FROM 
GIORGIONE  TO  JACOPO  TINTORETTO 60 

CHAPTER  VII 

VENICE-PAINTING    FROM    THE    SEVENTEENTH    TO   THE    NINE- 
TEENTH  CENTURY     .       .       .       ....       .....       .       .78 

CHAPTER  VIII 
PADUA  AND  MANTUA 98 

CHAPTER  IX 
VERONA,  VICENZA.  BRESCIA,  AND  BERGAMO 1 10 

V 


CONTENTS 

PAGE 

CHAPTER  X 
MILAN  AND  LOMBARDY 128 

CHAPTER  XI 
LEONARDO  DA  VINCI 144 

CHAPTER  XII 
PAINTING  IN  LOMBARDY 152 

CHAPTER  XIII 

ARCHITECTURE    AND    SCULPTURE     IN     MILAN     FROM    THE    SIX- 
TEENTH   TO   THE   NINETEENTH    CENTURY  .....    164 

CHAPTER  XIV 
PAINTING  IN  MILAN  AFTER  THE  SCHOOL  OF  LEONARDO     .       .       .179 

CHAPTER  XV 
ART  IN  LOMBARDY 188 

CHAPTER  XVI 
ART  IN  PIEDMONT  UP  TO  THE  END  OF  THE  RENAISSANCE    .       .    203 

CHAPTER  XVII 

ART    IN    PIEDMONT    FROM    THE    REVIVAL    OF    THE    SAVOYARD 

MONARCHY  TO  THE   CLOSE   OF   THE   NINETEENTH   CENTURY    217 

CHAPTER  XVIII 
SCULPTURE  AND  ARCHITECTURE  IN  UGURIA 229 

CHAPTER  XIX 
PAINTING  IN  LIGURIA 245 

CHAPTER  XX 

EMILIA-ARCHITECTURE  AND  SCULPTURE  TO  THE   TIME  OF  THE 
RENAISSANCE        .  260 


CONTENTS 

PAGE 

CHAPTER  XXI 

EMILIA— ARCHITECTURE    OF  THE   RENAISSANCE— SCULPTURE    UP 

TO   THE  NINETEENTH   CENTURY 273 

CHAPTER  XXII 

EMIUA— ARCHITECTURE  FROM  THE  TIME  OF  VIGNOLA  TO  THE 
NINETEENTH  CENTURY 291 

CHAPTER  XXIII 

EMIUA— THE  PAINTING   OF  THE   FOURTEENTH    AND    FIFTEENTH 

CENTURIES 302 

CHAPTER  XXIV 

EMIUA-THE    PAINTING    OF    THE    SIXTEENTH    CENTURY.       COR- 

REGGIO 320 

CHAPTER  XXV 

EMIUA— PAINTING     FROM    THE    SEVENTEENTH    TO     THE    NINE- 
TEENTH   CENTURY— THE    SCHOOL   OF   THE   CARRACQ       .       .    334 


WBE 

WKSMfftBk 

i|Mi|M 

W^iAilkiit^m. 

SJI^BJiiiiiMMl 

FIG.   I. — PALACE  OF  THEODORIC.      MOSAIC  IN  S.    APOLLINARE  NUOVO,    RAVENNA. 

{Photo.  Alinari.) 


CHAPTER  I 
RAVENNA  AND   BYZANTINE  ART 

Ravenna  under  Romans  and  Goths. — Churches  in  Ravenna. — Chapel  of  Galla  Placidia. — 
Baptistery. — Mosaics. —  Tomb  of  Theodoric. — Bell-towers. — Crypts. — Palace  of  Theodoric. 

The  most  beautiful,  the  most  complete  and  the  most  unimpaired 
monuments  of  so-called  Byzantine  art  are  preserved  in  Ravenna, 
a  city  of  Northern  Italy.  This  city  had  already  achieved  a 
notable  development  under  the  Roman  Empire,  lor  Augustus  had 
recognised  its  suitability  for  the  chief  station  of  the  Roman  fleet  on 
the  Adriatic,  and  Tiberius  had  strengthened  it  with  walls,  and  adorned 
it  with  public  buildings.  The  Emperor  Honorius  accordingly 
deemed  it  worthy  to  be  the  capital  of  the  Empire  of  the  West,  a 
position  which  it  maintained  for  seventy-five  years,  up  to  the  time 
when  Odoacer,  leader  of  the  Heruli  and  the  Turingi,  had  occupied 
the  town  and  overthrown  the  Roman  rule.  That  wise  and  modest 
barbarian  established  himself  at  Ravenna  after  his  conquest  of  Italy, 
and  here  in  493  he  died,  treacherously  slain  by  Theodoric,  who 
had  taken  the  city  after  a  siege  of  three  years,  and  had  pretended 
to  accept  Odoacer  as  his  coadjutor.  Left  as  sole  ruler,  Theodoric 
in  his  turn  confirmed  the  position  of  Ravenna  as  capital  of  his 
kingdom.  The  rule  of  the  Goths  lasted  for  sixty-three  years  and 
gave  rise  to  a  splendid  development  of  the  life  and  of  the  monu- 
ments of  the  town.  However,  on  the  death  of  Theodoric,  the 
power  of  the  Goths  declined,  and  before  long  was  finally  annihilated 
by  Belisarius  and  Narses;  administered  by  these  generals  under 
Justinian,  the  city  attained  to  yet  greater  magnificence.  But  this  was 
the  final  expression  of  its  glory,  for  under  the  harsh  rule  of  the 

1  B 


ART  IN   NORTHERN   ITALY 


Exarchs  despatched  from  Constantinople,  a  rule  that  lasted  for  little 
less  than  two  centuries,  the  city  was  gradually  reduced  to  a  state  of 
abject  decay.  None  the  less,  the  fact  that  it  had  maintained  its 
position  as  a  capital  for  several  centuries  sufficed  to  retain  for 
Ravenna  a  dominant  position  in  art  and  letters  throughout  the 
darkness  of  the  Middle  Ages,  as  well  as  a  certain  political  pride, 
tnanks  to  which  the  city  was  able  to  hold  its  own  against  the  claims, 
first  of  the  Roman  Curia  and  then  of  the  rising  republic  of  Venice. 
Each  of  these  periods  has  bequeathed  to  Ravenna  monuments  of 
supreme  importance;  so  much  so,  that  in  the  history  of  art,  the 
city,    as   regards    the    Byzantine    and   proto-Romanesque   periods, 

maintains  its  place  as  a  capital. 
Every  artistic  form  is  richly  dis- 
played here:  churches  both  with 
the  central  space  and  of  the  basil- 
ican  type,  baptisteries,  mausoleums 
rich  in  sculpture  and  mosaics,  tow- 
ers, crypts;  carvings  in  ivory,  gold- 
smith's work  and  textiles. 

As  to  the  origin  of  the  art  of 
Ravenna,  or  rather  as  to  its  imme- 
diate sources,  various  opinions  have 
been  held,  opinions  essentially  dis- 
cordant and  in  no  case  final.  We 
may  fairly  conclude  that  each  theory 
is  pardy  true  and  partly  false,  and 
that  the  truth,  as  is  nearly  always 
the  case,  lies  between  them.  For 
my  own  part,  though  I  recognise  a 
strong  Oriental  influence,  none  the 
less  (as  far  as  regards  the  fourth  and  fifth  centuries)  the  continuity 
of  certain  classical  types  and  designs — a  continuity  which,  I  venture 
to  say,  was  inevitable — seems  to  me  obvious. 

It  is  much  to  be  regretted  that  in  the  eighteenth  century  a  foolish 
architect  was  permitted  to  rob  the  town  of  the  Ecclesia  Ursiana, 
founded  at  the  close  of  the  fourth  century,  and  to  destroy  nearly 
all  the  ornamental  details  of  the  building.  The  solemn  church  with 
its  double  aisles  would  have  served  as  a  useful  example  of  the  de- 
cline of  the  Roman  methods  of  design,  and  of  the  merging  of  these 
into  Byzantine  forms.  In  any  case,  the  rare  fragments  and  the 
drawings  that  have  survived,  though  indeed  little  studied  as  yet,  in 
the  case  of  certain  characteristic  forms  of  the  art  of  Ravenna,  attest 

2 


FIG.   2. — APSE  or  S.   GIOVANNI 
EVANGELISTA,    RAVENNA. 

{Photo.  Chiusoli.) 


RAVENNA  AND  BYZANTINE  ART 


-CHAPEL   OF   GALLA    PLACIDIA,    RAVENNA. 

(Photo.  Alinari.) 


an  earlier  date  than  has  been  allowed  by  our  writers  of  art  history. 
In  the  original  church,  which  stood  east  and  west,  dosseret  or 
impost  blocks  were  to  be 
found,  above  the  capitals; 
these  must  have  been 
nearly  half  a  century  older 
than  those  in  the  votive 
church  of  Galla  Placidia, 
which  have  hitherto  been 
regarded  as  the  oldest 
known.  Unfortunately,  we 
have  failed  to  find  any 
drawings  of  the  exterior 
of  the  great  basilica,  so 
that  we  are  unable  to  say 
whether  its  walls  displayed 
that  arrangement  of  pilas- 
ters or  "wall-strips"  and  blind  arcades  which  were  among  the 
principal  characteristics  of  the  architecture  of  Ravenna.  The 
earliest  drawings  of  the  monuments  of  Ravenna  date  from  the 
sixteenth  century,  and  their  number  increases  gradually  in  the 
following  centuries,  at  a  time  when  the  rude  bareness  of  the  exteriors 
must  have  been  peculiarly  distasteful.  The  architects  of  the  day 
accordingly  confined  their  drawings  to  the  interiors.  The  sentiment 
of   the  early   Christian   church   was   forgotten : — "  Thou  shall  not 

behold  beauty  unless  thou 
enterest  within  me;  thou 
shalt  not  enjoy  felicity  un- 
less thou  enterest  within 
me!  " 

The  wall -strips  had, 
however,  a  great  develop- 
ment in  the  fifth  century, 
and  many  beautiful  exam- 
ples of  them  remain  in 
Ravenna,  in  the  first  place 
those  of  S.  Giovanni  Evan- 
gelista,  the  votive  church 
promised  to  the  saint  by 
Galla  Placidia  in  424 
during  a  furious  storm  at  sea.  In  spite  of  its  ruthless  treatment  in 
1  747,  some  original  work  of  the  greatest  importance  is  still  to  be 

3  B  2 


t            .   ■    —  ..    K<\t.'-.v.  \  'i ■■ — — : 

,.   .  ,^„..  A.vr,-i£ni;i..j-.',.  1  ■«■■  ■     V .\  _'^,-  . 

FIG.    4. — THE   GOOD    SUEl'llEKU.       MOSAIC   IN   THE 
CHAPEL  OF   GALLA    PLACIDIA,    RAVENNA. 

(Photo.  Alinari.) 


ART  IN   NORTHERN   ITALY 


found  in  this  church,  for  example  the  double  colonnade,  parts  of 
the  quadriporticus  and  of  the  facade,  the  lateral  windows,  and  finally 

the  arcades  of  the  apse,  the  germ  of 

'  „ . ZZ'-I.  ,"     the    Romanesque    apses   that   became 

common  at  a  much  later  time  (Fig.  2). 
On  the  other  hand  the  sepulchral 
chapel  of  the  above  mentioned  Galla 
Placidia  (Fig.  3)  as  well  as  the  Bap- 
tistery of  the  Cathedral,  apart  from 
some  trifling  alterations,  still  retain  their 
primitive  aspect:  in  these  buildings, 
moreover,  may  be  found  the  oldest 
mosaics  of  Ravenna,  with  a  ground 
work  of  deep  blue ;  those  with  a  gold 
ground  belong  to  the  following  century. 
As  in  some  other  cases,  this  baptist- 
ery had  its  origin  in  a  Roman  building. 
It  is  in  fact  the  calidarium  that  formed 
part  of  a  nymphc&um  built  in  the  second 
or  third  century.  In  early  days  the 
point  of  importance  in  the  bap- 
tismal office  was  the  ceremony  itself, 
might 


FIG.    5. BAPTISTERY   AND   BELFRY 

OF  THE  CATHEDRAL,    RAVENNA. 

{Photo.  ZoH.) 


not  the  place:  the  convert 
receive  the  initial  sacrament  either 
upon  the  bank  of  a  river  or  in  the 
public  baths.  It  was  the  Arch- 
bishop Neone  who  about  the  middle 
of  the  fifth  century  transformed  the 
building  and  decorated  it  with  sub- 
jects bearing  upon  its  new  purpose ; 
the  plan  was  altered,  and  of  the 
original  Roman  decoration  only  the 
capitals  and  the  veneering  of  marble 
were  preserved.  But  the  mosaics 
also,  although  of  the  fifth  century, 
have  an  unmistakable  Roman  gran- 
deur and  simplicity;  the  figures, 
too,  are  Roman  in  character ;  they 
are  calm  and  correct,  and  have  the 
small  heads  of  antique  statues. 

That  the  early  mosaicists  at    Ravenna  worked  under   Roman 
influence  is  to  me  a  matter  of  absolute  certainty.     It  is  revealed  in 

4 


FIG.  6. THE   BAPTISTERY   OF   THE   CATHE- 
DRAL, RAVENNA.     (Photo.  AHnart.) 


RAVENNA  AND  BYZANTINE  ART 


FIG.   7. S.   APOLLINARE  NUOVO, 

RAVENNA.     (Photo.  Ricci.) 


the  design,  the  technique,  and  the  sentiment  of  the  mosaics  in  the 

Baptistery  as  in  those  in  the  chapel  of  Galla  Placidia  (Fig.  4)  and 

the  older  examples  in  S.  Apollinare 

Nuovo    (Figs.     1 ,     10),    when    we 

compare  these  with    the  sumptuous 

mosaics  of   unmistakable  Byzantine 

style    that   were   executed  after  the 

fall  of  the  Gothic  kingdom.    Thus  it 

may  be  unhesitatingly  affirmed  that 

for    the   long  period   during   which 

Ravenna  was  the  capital,  first  of  the 

Roman  Empire  of    the  West,   then 

of  Odoacer  and  of  the  Gothic  kingdom 

(402-540),    the    Oriental    influence 

was  kept  within  narrow  limits,  while 

on    the    other    hand    the    force    of 

Roman  tradition  was  predominant. 

The  plan   of  the   chapel    of  Galla 

Placidia  was  a  Latin  cross ;  close  by 

was  a  church  dedicated  to  the  Holy 

Cross  similarly  planned,  which  led  to 

the  general  adoption  of  this  arrangement  in  churches  with  transepts. 

In  the  mosaics  of  the  sepulchral  chapel  there  are  many  singular 

points  of  resemblance  both  to  those  in  the  church  of  S.  Giovanni  in 

Fonte  at  Naples  and  to  those  at  Casaranello:  Roman  motives  recur 
in  them,  such  as  the  vase 

'  with   doves   of   the   Villa 

Adriana,  and  the  poly- 
chrome Greek  key  pattern 
in  perspective  of  the  Baths 
of  Otricoli.  Similarly,  in 
S.  Apollinare  Nuovo,  the 
aulic  church  of  Theodoric 
(Figs.  7,  8),  the  parts  that 
date  from  his  reign  show 
Roman  influence.  The 
figures  of  the  prophets, 
seen  full  face,  wrapped  in 
their  mandes,  with  a  book 
or  a  scroll  in  their  hands, 

look  like  exact  reproductions  of  statues  (Fig.  1 0).    The  monochrome 

is  scarcely   interrupted   by   the    rosy   tints  of   the  flesh  or   the  red 

5 


FIG.  8. 


-S.  APOLLINARE  NUOVO.  RAVENNA. 

INTERIOR.    {Photo.  Ricci.) 


ART  IN  NORTHERN  ITALY 

bindings  of  the  books.  To  these  figures,  firmly  planted  upon  a  base 
that  is  seen  in  diminishing  perspective,  the  position  of  the  hands  and 
the  arrangement  of  the  mantles  take  a  variety  of  forms,  all  of  v^hich 
may  be  found  in  classical  statues. 


After  the  reconquest  of  Ravenna  by  the  generals  of  Justinian,  the 
mosaic  decoration  of  buildings  reveals  an  absolutely  different  sentiment 
and  technique:  and  in  the  marble  work  new^  forms,  such  as  the  cubic 
or  the  basket-shaped  capital,  make  their  appearance.   The  buildings 

at  Ravenna  w^hich  might  have  given 
evidence  of  the  change  were  legion, 
but,  unhappily,  the  ravages  of  time 
and  of  man  have  sadly  reduced  their 
number.  Some  few  still  remain,  but 
as  we  do  not  propose  to  give  a  de- 
tailed list  here,  it  will  suffice  to 
mention  that  the  most  important  and 
the  best  examples  of  this  artistic  revo- 
lution at  Ravenna  are  the  churches 
of  S.  Vitale  (Figs.  12-13),  of  S. 
Apollinare  in  Classe  (Fig.  1 5), 
and,  taking  into  account  the  two 
long  friezes  of  Martyrs  and  Virgins 
(Fig.  I  1 ),  that  of  S.  Apollinare 
Nuovo.  In  the  mosaics  of  these 
churches  all  desire  for  the  expres- 
sion of  form  appears  to  be  subordi- 
nated to  the  decorative  effect.  The 
figures  succeed  one  another  with  little  variety ;  the  feeling  for 
relief  has  almost  disappeared ;  the  folds  of  the  drapery  have  become 
narrower,  longer,  and  more  angular,  without  any  fusion  of  the  tints, 
so  that  they  do  not  appear  to  surround  the  limbs  they  cover.  On 
the  other  hand  there  is  increased  splendour  in  the  draperies  which 
are  rich  with  gold  and  flowered  designs,  the  diadems,  the  necklaces 
and  the  girdles,  embroidered  with  gold  and  with  jewels;  in  the 
representation  of  these  objects  the  brilliant  colours  of  the  enamels 
alternate  with  applications  of  mother-of-pearl,  which  last  finds  its 
way  even  into  the  marble.  It  may  be  said  that  just  as  the  Italian 
artists  were  influenced  by  the  severe  classical  school  in  the 
treatment  of  their  figures,  so  the  Byzantines  were  influenced  by  the 
glittering  textiles  of  the  East  (Fig.  14).     While,  for  the  flesh  tints, 


FIG.   g. TOMB  OF  THEODORIC, 

RAVENNA.     (.Photo.  Ricci.) 


RAVENNA  AND  BYZANTINE  ART 


FIG.   lO. — PROPHETS.     MOSAIC  IN 
S.    APOLLINARE   NUOVO,    RAVENNA. 

{Photo.  Ricci.) 


two  or  three  gradations  of  tone  sufficed  to  lead  from  red  to  white, 
a  hundred  lively  colours  and  a  general  profusion  of  discs  of  mother- 
of-pearl  were  deemed  insufficient 
to  reproduce  the  jewels  and  em- 
broideries of  the  garments.  It 
must,  however,  be  acknowledged 
that  if,  in  matter  of  design,  and 
of  substance,  so  to  speak,  the  mosaic 
work  of  the  Roman  tradition  is 
more  solid  and  beautiful,  that  of 
Byzantine  origin,  with  its  unbridled 
luxury,  is  more  sumptuous  and 
therefore  more  decorative. 

As  regards  the  architecture,  if 
we  except  the  church  of  S.  Vitale, 
which  is  octagonal  in  plan,  with 
chapels  surrounding  a  central  space 
(Figs.  1 2,  1 3),  and  that  of  S.  Croce 
already  mentioned,  all  the  others, 
both  those  which  survive  and  those  that  have  been  destroyed,  are 
basilican  in  plan  with  three  aisles,  the  Cathedral  alone  having  five. 

A  form  that  differs  somewhat  from  the  other  sixth  century 
buildings  of  Ravenna  is  represented  by  the  mausoleum  of  Theodoric 
(Fig.  9),  constructed  in  two  orders,  with  blocks  of  freestone  carefully 
squared  and  put  together  without  mortar.  The  lower  storey  is 
decagonal,  and  has  on  each  side  a  deep  niche,  over  which  is  carried 
an   arch   formed   of   eleven   stepped   voussoirs,    and   supported   by 

massive  pilasters.  In  the 
niche  facing  the  west  is 
the  door  by  which  entrance 
is  effected  into  a  cruci- 
form passage.  With  re- 
gard to  the  upper  storey 
it  is  held  by  some  that 
corresponding  to  the 
eighteen  lunettes  that  pro- 
ject from  the  building  and 
recur  on  each  side  of  the 
lower  storey  in  pairs,  save 
in  the  space  occupied  by 
the  door,  there  originally  existed  an  equal  number  of  arched  vaults  sup- 
ported by  small  columns  arranged  around  the  edge  of  the  parapet,  and 

7 


FIG.   II. — VIRGINS.      MOSAIC  IN  S.  APOLLINARE 

NUOVO,  RAVENNA.     {Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


-S.   VITALE  AND  TOMB  OF  GALLA 
PLACIDIA,    RAVENNA. 


forming  an  exterior  gallery  surrounding  the  edifice.     I,  on  the  other 
hand,  am  of  opinion  that  the  arches  and  the  mouldings  supported, 

not  an  ambulatory,  but  rather 
a  simple  decorative  facing 
adhering  to  the  wall  but 
projecting  from  it  after  the 
fashion  of  the  wall-strips 
and  shallow  blind  arcades 
of  the  other  monuments  of 
Ravenna.  And  this  raises 
a  doubt  whether  we  can 
accept  the  hypothesis  that 
the  "  Rotonda "  is,  archi- 
tecturally, to  be  classed 
with  the  sepulchral  monu- 
ments of  Syria.  For  here, 
too,  we  find  evidence  of  Roman  influence.  In  fact,  the  interior  of 
the  lower  storey  calls  to  mind  the  Roman  building  at  Cassino 
which  was  converted  into  the  Church  of  the  Holy  Cross  (Capella 
del  Crocifisso),  some  of  the  tombs  on  the  Via  Appia,  and  still 
more  the  building  that,  about  the  year  1517,  Giuliano  da  Sangallo 
saw  and  drew  "a  Capua  vecchia." 


It  is  not,  however,  the  Christian 
art  of  the  fifth  and  sixth  centuries 
alone  that  we  have  to  study  in 
Ravenna,  but  also  that  of  the  fol- 
lowing centuries  up  to  the  twelfth, 
as  represented  in  a  series  of  re- 
markable buildings  which  show  how 
Byzantine  art,  losing  some  of  its 
characteristics  and  acquiring  others, 
was  merged  gradually  in  Roman- 
esque. 

In  direct  contradiction  to  received 
opinion,  I  must  point  out  that  the 
campanili,  the  crypts,  and  the  so- 
called  Palace  of  Theodoric,  are 
buildings  of  a  later  day,  and  belong  to  the  period  comprised  between 
the  eighth  and  the  twelfth  centuries. 

8 


FIG.    13. — S.   VITALE,    RAVENNA 

(Photo.  Alinari.) 


RAVENNA  AND  BYZANTINE  ART 


Seeing  that  the  churches  of  Ravenna  belonged  to  the  fifth  and 
sixth  centuries,  it  was  formerly  taken  for  granted  that  their 
respective  campanili  w^ere  of  the  same  period.  However,  of  late 
years  the  question  has  been  raised  whether  these  bell-towers  may 
not  have  been  subsequent  additions  at  a  considerably  later  date. 
Alterations  of  various  kinds  coincided  with  the  erection  of  these 
towers,  and  their  position  varies  in  different  churches,  from  which 
we  cannot  but  conclude  that  they  formed  no  part  of  the  original 
plan,  but  were  added  later,  in  any  space  that  happened  to  be  free. 
This  hypothesis  is  confirmed  by  the  facts  that  they  differ  in 
construction  from  the 
churches  to  which 
they  are  attached, 
that  they  are  not  rep- 
resented in  the  mo- 
saics, and  that  they 
do  not  figure  in  the 
most  ancient  records 
or  drawings. 

Nor  do  the  crypts 
at  Ravenna  date 
back  to  the  founda- 
tion of  the  churches. 
In  all  cases  they  are 
adapted  more  or  less 
successfully  to  the 
older  parts,  and  they 
are  generally  constructed  with  material  derived  from  older  buildings. 
The  crypt  of  the  Cathedral  dates  probably  from  the  time  of  the 
reconstruction  of  the  apse  in  1112,  that  of  the  Church  of 
S.  ApoUinare  in  Classe  from  about  1  1 70,  and  if  the  crypt  of 
S.  Francesco  is  of  somewhat  older  date,  it  cannot  be  put  further 
back  than  the  tenth  century. 

Nor  can  the  magnificent  ruin  that  still  survives  under  the  title  of 
the  Palace  of  Theodoric  (Fig.  16)  be  of  an  earlier  date  than  the 
eighth  century.  Internal  evidences  forbid  us  to  accept  it  as  a  relic 
of  the  Gothic  king.  In  the  purely  decorative  arcading,  supported 
by  columns,  of  the  facade,  in  the  treatment  of  the  voussoirs 
surmounting  the  double  openings,  in  the  ribs  of  the  vaulting,  in  the 
wall-strips,  and  in  the  arches  that  support  the  vaulting,  the  various 
elements  of  Romanesque  architecture  are  already  conspicuous; 
these  elements,  indeed,  combine  to  build  up  an  edifice  of  the  most 

9 


FIG.   14. — THEODORA.      MOSAIC  IN  S.  VITALE, 

RAVENNA.     {Pholo.  AUncri.) 


ART  IN  NORTHERN  ITALY 


FIG.    15. — S.   APOLLINARE  IN  CLA3SE,  RAVENNA. 
INTERIOR.      {Photo.  Ricci.) 


original  character,  a  monument  of  transition  and  oi  development. 
These  constituent  elements  of  the  latest  Byzantine,  or,  better,  of  the 

proto-Romanesque  art  of 
Ravenna,  are  spread  over 
a  wider  field  than  was  ever 
covered  by  the  art  of  the 
fifth  and  sixth  centuries,  to 
which,  indeed,  in  other 
districts  very  few  buildings, 
apart  from  the  Church  of 
S.  Pietro  in  Silvis  near 
Bagnacavallo  andthe 
Euphrasian  basilica  at 
Parenzo,  can  be  assigned. 
In  the  prosperous  city 
of  Milan  there  has  been 
such  a  continuous  restoration  of  the  churches  that  nothing  remains 
of  this  primitive  period  but  the  general  plan  of  San  Lorenzo  and  a 
few  mosaics  in  Sant*  Ambrogio.     The  early  decline  of  Ravenna 

has    had    at    least    the   effect    of    , 

leaving  her  monuments  intact,  but 
Milan  may  say  with  Ovid :  "  In- 
opem  me  copia  fecit." 


BIBUOGRAPHY  OF  CHAPTER  I 

Raffaele  Garrucci,  Storia  delTArte  Crisliana 
nei  primi  olto  secoli  delta  Chiesa,  Prato.  1873- 
1881  ;  J.  A.  Crowe  and  G.  B.  Cavalcaselle,  His- 
toru  of  Painting  in  Italy,  London.  1903,  Vol.  I ; 
Adolfo  Venturi,  Storia  dell' Arte  Ilaliana,  Milan, 
1901  ;  Josef  Strzygowski,  Orient  oder  Rom, 
Leipsic,  1901  ;  Tiresio  Rivoira,  Le  origini  dell' 
archilettura  lombarda,  Rome,  1901  and  1907; 
G.  Rohault  de  Fleury,  La  Mease,  Paris ;  F.  X. 
Kraus,  Qeschichie  der  christlichen  Kunst,  I.  Frei- 
burg, 1 896  ;  Gerspach,  La  mosatque,  Paris,  n.  d. ; 
Andre  P^rat^,  L' Arch'eologie  chretienne,  Paris, 
1892;  C.  Bayel,  L'Art  byzantin,  Paris,  n.  d.  ; 
Elmma  Hoferdt,  Ursprung  and  Entaickelung  der 
Chorkrypta,  Breslau.  1 905 ;  Andrea  Agnello, 
Liber  pontificalis,  Hanover,  1 878 ;  Gerolamo 
Fabri,  Sagre  memorie  di  Raoenna  antica, 
Venezia,  1 664 ;  Gerolamo  Fabri,  Ravenna  ricer- 
cata,  Bologna,  1678;  Antonio  Tarlazzi,  Mem- 
orie sacre  di  Raoenna,  Ravenna,  1 852  ;  Antonio 
Zirardini,  Degli  edifici  sacri  di  Raoenna, 
Ravenna,  1908;  Al.  Ferd.  von  Quast,  Die  alt- 
chrisllichen  Bauwerke  oon  Raoenna,  Berlin, 
1842;  Giuseppe  Bard,  Dei  monumenti  d' archi- 
lettura bizantina  in  Raoenna,  Ravenna,  1844  ;  J.  Rud.  Rahn,  Ein  Besuch  in  Ravenna.  Leipsic, 
1869;    Filippo    L^ndani,    Cenni   intorno   ai   monumenti  e   alle   cose  piu  notahili  di  Raoenna, 

10 


FIG.    16. — THE  SO-CALLED  PALACE  OF 
THEODORIC,   RAVENNA.       (PkolO.   Ricci.) 


RAVENNA  AND  BYZANTINE  ART 

Ravenna,  1871  ;  Franz  Bock,  Eine  fVoche  in  Ravenna,  Munich,  1884;  Karl  Bronner,  Ravenna, 
Mayence,  1897;  E.  Melchior  de  Vogiie,  Ravenne  in  Hisloire  et  Poesie,  Paris,  1898;  Walter 
Goetz,  Ravenna,  Leipsic,  1901  ;  Charles  Diehl,  Ravenne,  Paris,  1903;  Corrado  Ricci,  Raoenna, 
Bergamo,  1907;  Ferdinando  Gregorovius,  Ravenne  in  the  Passeggiate  per  I'ltalia,  III,  Rome, 
1 908 ;  Corrado  Ricci,  Guida  di  Ravenna,  Bologna,  1 908 ;  Karl  Goldmann,  Die  ravennatischen 
Sarkophage,  Strasburg,  1906;  Corrado  Ricci,  Raccolle  artisliche  di  Ravenna,  Bergamo,  1908; 
J.  P.  F^chter,  Die  Mosaiken  von  Ravenna,  Vienna,  1878;  Steph.  Beissel,  Die  Mosaiken  von 
Ravenna,  Freiburg,  1 894 ;  G.  C.  Redin,  Mosaics  of  the  Churches  of  Ravenna,  St.  Petersburg,  1 896 
(in  Russian);  X.  Barbier  de  Montault,  Les  mosaiques  des  eglises  de  Ravenne,  Paris,  1897; 
Julius  Kurth,  Die  mosaiken  der  christlichen  Era,  Leipsic,  1 902 ;  Odoardo  Gardella,  /  campanili 
di  Ravenna,  Milan,  1 902 ;  Giuliano  Berti,  Sull'anlico  Duomo  di  Ravenna  e  il  Battistero  e 
VEpiscopio  e  il  Tricolo,  Ravenna,  1 880 ;  Corrado  Ricci,  //  Battistero  di  S.  Giovanni  in  fonte  a 
Ravenna,  Bologna,  1 889 ;  Cesare  Sangiorgi,  //  Battistero  della  Basilica  Urisiana  di  Ravenna, 
Ravenna,  1 900 ;  Albrecht  Haupt,  Die  dussere  Gestalt  des  Grabmals  Theodorichs  zu  Ravenna 
und  die  germanische  Kunstm  the  Zeitschrifl  fur  Geschichte  der  Architekiur,  Heidelberg,  1908,  I, 
1  and  2  and  Das  Theodorichgrabmal  zu  Ravenna  in  the  Zeitschrift  fur  bildende  Kunst,  Leipsic, 
1908,  fasc.  9;  Josef  Durm.  Das  Grabmal  des  Theodorich  zu  Ravenna  in  the  Zeischrift  fiir 
bildende  Kunst,  Leipsic,  1 906,  fasc.  8  and  Nochmals  das  Theodorich  zu  Ravenna  in  the  same 
Zeitschrift,  1908,  f.  8;  Josef  Strzygowski  Zur  fruhgermanischen  Baukunstm  the  Zeitschrift  fur 
Geschichte  der  Architektur,  Heidelberg,  1908,  1,  10;  Bruno  Schulz,  Die  Erganzung  des 
Theodorich-Grabmals  und  die  Herkunft  seiner  Formen  in  the  Zeitschrift  fur  Geschichte  der 
Architektur,  Heidelberg,  1908,  1,  8;  Dom.  Maioli,  5.  Vilale  in  Ravenna,  Faenza,  1903; 
Corrado  Ricci,  La  cappella  detta  Sancta  Sanctorum  in  S.  Vitale  di  Ravenna,  in  the  Rassegna 
d'Arte,  IV,  Milan,  1904;  Abside  di  S.  Vitale  in  Ravenna  in  the  Arte  italiana  decorativa  e 
industriale,  Bergamo,  1 904  ;  La  chiesa  di  S.  Michele  ad  Frigiselo  in  Ravenna  in  the  Rassegna 
d'Arte,  V,  Milan,  1905  and  Le  Cripte  di  Ravenna  in  the  Note  sloriche  e  letterarie,  Bologna, 
1 88 1 ;  Hems  Diitschke,  Sonderabdruck  aus  ravennalische  Siudien,  Leipsic,  1 909. 


11 


FIG.    17. — S.   mark's  church,   VENICE. 


CHAPTER  II 

VENICE 

Architecture  and  Sculpture,  from  the  First  Beginnings 
TO  THE  End  of  the  Fifteenth  Century 

Origin  of  Venice. — Evolution  of  (he  CitV- — Church  of  S.  Mark- — Campanile. —  The  Ducal 
Palace. —  Venetian  Architecture. — Palaces. —  Churches. — Fra  Ciocondo. — A.  Riccio  and  the 
Lombardi. — Relation  of  Sculpture  to  Architecture. 

The  heritage  of  Ravenna,  a 
town  already  on  the  decUne 
in  the  seventh  century,  was 
gradually  garnered  by  Venice 
and  Bologna.  Venice  absorbed 
splendour,  political  power  and 
the  dominion  of  the  Adriatic : 
Bologna,  law  and  jurispru- 
dence. 

The  growth  of  Venice  was 
relatively  late  and  slow,  and 
she  owes  her  origin  to  the 
pressure  of  barbarian  invasion. 
The  first  inhabitants,  indeed,  appeared  upon  the  lonely  islets  of 
the  lagoon  at  the  time  of  the  invasions  of  Alaric,  of  Radagasius, 
and  of  Attila;  but  afterwards  it  would  seem  that  on  the  clearing 
of  the  storm,  under  the  impression  that  the  danger  was  passed,  the 
fugitives  returned  to  their  homes  in  the  region  already  called 
Veneha  by  the  Romans.  The  barbarians,  however,  had  learnt  the 
way,  and,  while  the  last  of  the  Imperial  line  passed  away  amidst 
final  struggles  and  crimes,  invaders  followed  swiftly  one  upon  the 

12 


FIG.    18. THE  BRONZE  HORSES,   S.  MARK'S, 

VENICE.     {Photo.  Alinari.) 


VENICE 


other — first  Odoacer,  then  Theodoric,  then  the  Lombards.  Hence 
there  followed  ever  fresh  flights  of  the  Veneti  to  the  sandbanks 
and  the  islets  where  they  found  a  home,  and  whither,  for  lack  of 
boats,  their  enemies  could  not  follow  them;  here  they  were  little 
exposed  to  the  envy  or  pursuit  of  those  who  were  panting  for  the 
plunder  of  rich  domains  and  of  walled  cities.  Here  it  was  that 
the  great  people  grew  up  who,  while  acknowledging  in  succession 
the  supremacy  of  the  Goths,  of  the  Byzantines  and  of  the  Lom- 
bards— of  the  Byzantines  in  a  special  degree — determined,  and 
carried  out  their  determination,  to  live  in  freedom,  to  make  their  own 
laws,  to  choose  their  own  representatives,  and  to  alter  laws  and 
treaties  at  their  own  will.  It  was  the  pressure  of  threats  from 
without  and  of  dis- 
sensions within  that 
led  to  the  first  elec- 
tion of  a  Doge,  and 
to  the  early  migra- 
tions of  the  seat  of 
government,  first 
from  Heraclea  to 
Malamocco,  then 
from  Malamocco  to 
Rialto,  which  last  be- 
came, like  the  Pala- 
tine Hill  at  Rome, 
the  nucleus  around 
which  the  city  of 
Venice  centred  and 
finally  was  fixed. 
And,  indeed,  at  the  beginning  "  Rialto "  meant  Venice,  and  it  is 
in  this  sense  that  Dante  uses  the  word.  There,  in  fact,  was 
the  principal  harbour,  and  there  the  seat  of  the  magistrates  and  of 
the  bishops. 

The  construction  of  the  city  was  not  the  outcome  of  a  gradual 
transformation  in  the  course  of  time,  as  was  the  case  with  Rome 
and  other  great  cities  of  Italy.  Venice  arose  at  a  time  when 
anything  was  possible  in  the  way  of  building,  and  at  a  time  when  in 
Italy,  even  in  the  iinmediate  neighbourhood,  there  was  no  lack  of 
architectural  marvels,  as  for  example  the  Roman  Verona,  the 
Byzantine  Ravenna,  and,  still  nearer,  Grado  (the  Cathedral  and 
S.  Maria  delle  Grazie),  and  Aquileia.  The  rapid  evolution  of 
Venice   was   controlled   by   magistrates   and   municipal   officers  of 

13 


P9 

vpflHH^H 

A 

aj^ff^BBB 

&Hf^ 

^F   rlSBr^                   '  Hr^Rl  1 

^^^^kj 

lit^j              ,^f^  ^i^viJiBB 

■  t^^Lr^ft^ '''"      '^^sins^^^B 

Hi 

^^^^^^^^fc    ■-.-'•■^ia>>:'     j"      li^^^^^B 

FIG.ig. — S.   MARK  S  CHURCH,   VENICE.       INTERIOR. 

{Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


-THE    doge's  palace,   VENICE. 

{Photo.  Alinari.) 


experience  who  saw  that  the  canals,   the  bridges,   and  the  ap- 
proaches to  them  were  laid  out  with  regularity,  that  the  unhealthy, 

muddy  creeks  were 
cleansed,  that  the  canal 
banks,  the  meadows  and 
the  houses  were  ren- 
dered secure.  Nor  was 
this  all :  they  took  care 
that  the  city  should  be 
enlivened  by  trees  and 
green  open  spaces. 

One  of  the  heroes  of 
this  period  of  organi- 
sation was  the  Doge 
Pietro  Orseolo  II,  who 
was  so  much  admired 
by  the  Emperor  Otho 
III.  He  it  was  who 
gave  both  material  and  moral  strength  to  his  country.  It  was  under 
his  rule  that  the  era  of  conquests  began,  an  era  that  culminated 
under  Enrico  Dandolo.  It  was,  indeed,  just  before  and  after  the 
year  1000  that  the  true  monumental  and  artistic  glory  of  Venice 
was  initiated,  although  there  were  already  at  that  time  some  notable 
churches  in  existence,  churches  that  later  were  either  destroyed  or 
transformed.  On  the  other 
hand,  in  the  adjacent  la- 
goons a  few  buildings  sur- 
vive that  have  retained 
some  part  at  least  of  their 
original  construction  (the 
apse  of  the  cathedral  of 
Torcello,  the  ruins  of  Jesolo, 
etc.). 

Among  the  churches 
transformed  in  later  times, 
notable  examples  are  S. 
Zaccaria  and  above  all,  San 
Marco,  the  foundations  of 
which  were  laid  in  the  year 
829,    the    year    after    the 

clandestine  transference  of  the  body  of  the  saint  from  Alexandria  to 
Venice.     The    original    church — built  on   the   model   of   those  of 

14 


FIG.  21. — PALAZZO  FARSETTI  AND  PALAZZO  LOREDAN, 
NOW  PALAZZO  DEL  MUNICIPIO,   VENICE. 

{Photo.  Alinari.) 


VENICE 


-FONDACO  DEI  TURCHI,   VENICE,   BEFORE 
THE  RESTORATION. 


Ravenna,  divided  into  three  aisles  by  two  row^s  of  columns,  with  a 

single  apse  and  a  narthex — was  burnt  in  976  during  the  insurrection 

against    the    Doge    Pietro 

Candiano  IV.     It  was  re- 
stored  at  once  under  the 

Doge  Orseolo  I  (976-978), 

but  it  no  longer  appeared 

worthy  of  the  growing  city, 

and  the  idea  of  rebuilding 

it  on  a  larger  scale  and  with 

richer  decoration  gradually 

gained  ground :  this  decision 

was  finally  taken  by  Do- 

menico  Contarini  in  1063, 

The  stupendous  work  was 

carried    on    with    ardour 

under  Domenico  Selvo,  who  lived  to  see  the  walls  partially  covered 

vi^ith  marbles  and  mosaics  (Figs.  I  7  and  1 9).    It  would  appear  that 

the  architects  were  Byzantines,  but 
the  completion  of  the  work  was 
entrusted  to  Venetians  and  Lom- 
bards; and  these  men  did  not  dis- 
dain— any  more  than  their  succes- 
sors in  later  days — to  avail  them- 
selves in  building  of  decorative 
fragments  from  the  first  basilica  and 
of  others  gleaned  here  and  there, 
from  Altinum,  from  Aquileia,  from 
decadent  Ravenna,  from  Istria,  from 
Dalmatia,  and  even  from  the  distant 
East,  as  for  example  the  two  pilas- 
ters brought  from  Acre  and  the 
four  figures  of  porphyry  which 
may  still  be  seen  to  the  right  of 
the  facade,  to  say  nothing  of  the 
four  famous  bronze  horses  taken 
from  the  Hippodrome  of  Constanti- 
nople in  the  year  1 205  (Fig.  1 8). 

The  styles  of  architecture  adopted 
are  as  various  as  are  the  fragments 

built  into  the  church  ;  but  the  Byzantine  predominates,  for  while  the 

work   carried   out  in   this   style    underwent  no   modification,    the 

15 


FIG.   2,^. — PALAZZO  CONTARINI-FASAN, 

VENICE.     {Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


ih  f^./.^s»H^^}|lHw^)ft*»"•• 
g9B9filSgl 


FIG.  24. — ca'  d'oro,  VENICE.     (Photo.  Alinari.) 


Lombard,  the  Gothic,  and  even  the  Renaissance  styles  have  had  in 
some  mceisure  to  adapt  themselves  to  it,  acknow^ledging,  as  it  were, 

its  sovereignty  in  the 

building.  Hence  the 
admirable  harmony 
of  the  whole,  a  har- 
mony which  in  my 
opinion  would  be 
destroyed  if  each 
style  had  refrained 
from  concessions. 
While,  indeed,  in 
the  case  of  the  dec- 
orative arcading  the 
Lombards  did  not 
place  themselves  in 
opposition  to  the 
latest  Byzantines, 
the  designers  of  the 
latest  mosaics  were  willing  to  space  out  their  figures  in  that  field  of  gold, 
which  may  indeed  be  said  to  give  the  key-note  to  which  are  attuned  all 
the  voices  of  this  marvellous  chromatic  choir,  from  the  dignified  and 
severe  figures  that  took  their  place  upon  the  walls  in  the  time  of 
Domenico  Contarini 
to  theGiottesque  de- 
signs of  the  Bap- 
tistery; from  the 
strange  and  lifelike 
work  of  Giambono, 
to  the  ample  and 
vigorous  figures  of 
Titian  and  of  Tin- 
toretto ;  they  shine 
out  from  all  sides, 
from  the  vault,  from 
the  arches,  from  the 
lunettes,  from  the  cu- 
polas, from  the  walls 
clothed  with  mar- 
bles of  many  hues, 
chiselled  in  the  course  of  many  centuries  by  a  thousand  hands,  from 
those  of  the  Greek  craftsman  to  those  of  the  disciple  of  Sansovino. 

16 


FIG.    25. CHURCH  OF  SS.   GIOVANNI  E  PAOLO,   WITH 

COLLEONI  MONUMENT,  VENICE.       (PhotO.   AHnaH.) 


VENICE 


So,  again,  between  the  ninth  and  twelfth  centuries  there  arose  the 
Campanile,  transformed  by  Montagnana  in  the  fourteenth  century, 
and  crowned  at  a  still  later  date 
with  a  bell-loft.  The  tower  fell  in 
1 902, and  has  been  rebuilt  "  where 
it  was  and  as  it  was." 

The  Ducal  Palace  has  a  long 
history,  akin  to  that  of  the  basilica 
and  of  the  campanile.  For  this 
building  again  is  a  marvellous  pro- 
duct of  the  careful  work  of  genera 


tions.Twice  burnt (976  and  I  1 05), 
twice  it  rose  from  its  ashes ;  it  was 
then  subjected  to  continuous  reno- 
vations,  enlargements,   embellish- 
ments, and  restorations ;  so  that  the 
most  ancient  parts  now  visible  are 
Gothic.     At  the  present  day  we 
have  in  this  building,  with  its  lower 
ranges  of  loggias  (fourteenth  and 
fifteenth  centuries)  and  the  plain, 
unbroken  upper  wall,  a  curious  inversion  of  the  usual  criterionsof 
strength  and  stability.     It  is  much  to  be  regretted  that  the  windows, 
with  two  exceptions,  have  lost  the  graceful  tracery  of  marble  which 
divided    them    into    three 
parts,  and  thus  relieved  the 
bald  and  rude  appearance 
of  the  empty  spaces  (Fig. 
20). 


FIG.    26. — CHURCH   OF  S.   MARIA  DELL' 

ORTO,  VENICE.     (Pliolo.  AUttari.) 


There  are  few  surviving 
examples  of  the  Venetian 
architecture  that  was  in 
favour  between  the  years 
1000  and  1300.  But  in 
what  remains  we  see  again 
distincdy  exemplified  the 
phenomenon  of  various 
styles  fused  into  one  (c/ 

p.  16);   and  this  one,  assuming  a  fresh  form,  displays  an  individual 
character,  and  takes  its  place  as  Venetian.     To  the  continuation  of 

17  c 


27. — CHLKCll   ul    .>.   Ml.lA.Nt 

{Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


Ib^ 

-1 

A 

pkm 

lH^ 

Y- 

^  'Vni-'Tl 

FIG.   28. — PALAZZO  PISANI,  S.  POLO, 

VENICE.     {Photo.  Alinari). 


the  original  Byzantine  forms  are  superadded  the  methods  and  motives 
of  Lombard  art;    we  may  even  find  traits  of  Saracen  art  in  the 

slender  columns,  placed  close  to- 
gether, and  in  the  height  of  the 
plinths.  We  have  examples  of 
this  in  the  former  Loredan  and 
Farsetti  (now  the  Municipio)  Pal- 
aces and  again  in  the  Dona  (now 
Sicher),  the  Saibanti,  the  Businello, 
the  Da  Mosto  and  other  palaces, 
all  of  them  on  the  Grand  Canal, 
and  most  of  them  close  to  the 
Rialto.  Here  we  have  a  proof 
that  it  was  precisely  around  this 
spot  that  the  city  grew  up.  A 
valuable  example  would  have  been 
offered  by  the  Palace  erected  in 
1225  (later  the  Fondaco  dei 
Turchi,  and  now  the  Museo 
Civico),  had  it  not  been  for  the 
ruthless  and  vulgar  restoration 
which  the  building  underwent  about  the  middle  of  the  nineteenth 
century.  The  many  drawings,  engravings,  pictures  and  photographs 
which  have  been  preserved  only  serve  to  increase  our  regret  that 

this  marvellous  building  in 
its  state  of  picturesque  de- 
cay, is  no  longer  reflected 
in  the  waters  of  the  Grand 
Canal. 

The     Gothic     style 
brought  about  a  great  and 
far-reaching  modification  of 
the  architecture  and  sculp- 
ture of  Venice.     It  was  a 
style  which  flourished  for- 
tunately  during   the   most 
fjrosperous    period   of   the 
ife  of  Venice,  when  An- 
drea Dandolo  and  Andrea 
Contarini  defeated  Genoa,  and  when  Antonio  Venier  occupied  the 
island  of  Corfu  and  the  towns  of  Durazzo  and  Argo. 
This  was  the  time  of  great  churches  and  glorious  palaces.     Among 


FIG.   29. — SCUOLA  DI  S.  MARCO,  VENICE,  NOW  THE 

HOSPITAL.     {Photo.  Alinari.') 


VENICE 


FIG.  30. — PIAZZA  OF  S.  MARK'S  WITH  SANSO\INO's  LOGfiETTA, 
THE    PROCURATIE    VECCHIE,   THE    CLOCK    TOWER,    AND   SIDE- 
VIEW  OF  s.  mark's,  VENICE.     {Photo.  AHnort.) 


the  first  it  will  suffice  to  mention  Santa  Maria  Gloriosa  dei  Frari 

and  SS,  Giovanni  e  Paolo;    among  the  latter  the  Ducal  Palace 

(Fig.  20^,  the  "Casa 

degli     Evangelisti," 

nfear  S.  Eustacchio, 

the  Ca'  d'Oro  (Fig. 

24),   and  the  Con- 

tarini  -  Fasan    (Fig. 

23).  In  these  palaces 

there    are    generally 

in  the  upper  storeys 

spacious  apartments 

which     extend 

through    the    whole 

depth  of  the  house, 

terminating    at    the 

fa9ade  in  a  row  of 

windows  divided  by 

little  columns,  while 

the  two  solid  wings 

of  the  building  contain  the  less  important  rooms  (Figs.  23,  24  and 

43).     These  architectural  arrangements,  corresponding  to  a  definite 

method  of  life,  have,  in  the  main,  been  maintained  from  century  to 

century  through  all  the  changes  of  style,  just  as  in  ancient  days  was 

the   case    with    the    plan    of   the 

Roman  house.    It  should  be  noted 

that  these  central  saloons  served, 

and  indeed  still  serve,  not  only  as 

places  of  assembly  and  of  social 

gathering,   but   as   approaches   to 

the  lateral  rooms,  taking  the  place 

of  the  Roman  atrium. 

The  number  of  windows  cor- 
responding to  these  saloons  varies 
from  two  to  twelve,  the  most 
usual  number  being  six.  Gene- 
rally they  are  seen  to  be  grouped 
within  a  quadrangular  space 
which  is  surrounded  by  a  frame- 
work of  gilded  marble,  and  the 
tracery  of  their  pointed  arches 
passes   upward   to  form    rose   or 


FIG.    31. — PORTA  DELI, A  CARTA,   DOGE  S 

PALACE,  VENICE.     (Pholo.  AHtiari.) 


c  2 


ART  IN  NORTHERN  ITALY 


FIG.   32. CHURCH  OF  S.   ZACCARIA, 

VENICE.     {Photo.  Alinari.) 


star-shaped  apertures,  grouped  in  a 
single  or  double  row,  and  making 
a  stone  lacework  of  exquisite  deli- 
cacy. 

The  churches  of  the  Gothic  pe- 
riod are  divided  into  three  lofty 
aisles  by  rows  of  massive  cylindrical 
pillars;  they  have  a  few  chapels, 
right  and  left  of  the  apse,  in  the 
transepts,  but  there  are  no  chapels 
in  the  side  aisles,  where  the  altars 
are  placed  against  the  main  walls 
without  any  recessing.  The  choir, 
in  the  principal  churches  at  least, 
is  in  the  central  nave,  taking  the 
place  of  the  ancient  scuola  dei 
cantori. 

The  church  of  S.  Maria  Gloriosa 

del  Frari  which  was  begun  in  1250,  was  enlarged  in   1330  and 

1415;  the  church  of  SS.  Giovanni  e  Paolo  (Fig.  25)  again,  founded 

in  the  thirteenth  century,  and  altered  in  1333,  was  only  completed 

a   good   deal   later  (1390).     After 

S.   Mark's  these  are  the  two  most 

famous   churches  of  Venice;    they 

have   been   enriched  from   time   to 

time  with  sculpture  and  paintings, 

so  that  they  have  gradually  assumed 

the   character    of    magnificent   art- 
museums. 

Among    the    lesser    but    no    less 

beautiful  churches  of  the  fourteenth 

century  are  S.   Stefano  (Fig.   27), 

begun  in  1325,  and  S.  Maria  dell' 

Orto  (1357,  Fig.  26). 

The  special   character  taken  on 

by   the  Gothic  style  in  Venice  is 

more  noticeable  in  the  civil  than  in 

the   religious   architecture.     It   was 

continued    far     into     the     fifteenth 

century,  at  a  time  when  the  grace- 
ful early  Renaissance  had  established  itself  in  other  towns,  and  this 

has  led  to  the  impression  that  large  parts  of  Venice  are  older  than 

20 


FIG.   33. — SPIRAL  STAIRCASE  IN  PALAZZO 

MiNELLi,  VENICE.     (Pholo.  AUnari.) 


VENICE 


1^ 

i^^ff 

i|H| 

yl^i-lBi 

FIG.    34. MONUMENT        OF        THE 

DOGE   PIETRO   MOCENIGO,   CHURCH 
OF       SS.       GIOVANNI        E        PAOLO. 

VENICE.     {Pholo.  Alinari.) 


they  really  are.  The  Ca'  d'Oro,  for 
example,  was  ftnished  between  the  years 
1424  and  1430,  at  a  time  when  in 
Florence  Brunelleschi  was  already  at 
work  at  S.  Lorenzo  and  on  the  chapel 
of  the  Pazzi,  S.  Croce.  A  large  part 
of  the  Ducal  Palace  also  belongs  to  the 
fifteenth  century,  including  the  Porta 
della  Carta  (Fig.  31). 


The  Renaissance  itself,  in  this  ex- 
ceptional city,  assumes  a  characteristic 
aspect,  due  to  topographical  exigencies 
and  to  the  spirit  of  the  Venetians. 

Just  as  in  Rome  everything  has  an 
air  of  grandeur,  and  in  Florence  an 
accent  of  grace,  so  in  Venice  everything 
inclines  to  magnificence.  The  facades  of  the  palaces — vast  and 
severe  in  Rome  (Palazzo  Venezia  and  the  Cancelleria),  in  Florence 
soberly  constructed  of  rusticated  masonry  with  architectonic  members 
boldly  projecting  (the  Pitti,  Riccardi,  Strozzi,  and  Rucellai  Palaces) 
— assumed  in  Venice  a  graceful  and,  as  it  were,  feminine  style 
of  decoration;    they  were  adorned  at  first  with  discs,  mouldings, 

and  screens  of  Byzantine 
character;  then  with  paint- 
ings or  with  pateras  and 
marble  panels,  surrounded 
with  garlands,  suspended 
from  fluttering  fillets,  attach- 
ed between  balustrades  and 
balconies  and  doors  and 
windows,  which  gradually 
abandoned  the  pointed  arch 
for  the  softer  charm  of 
round-headed  openings. 

The  most  famous  archi- 
tects of  this  period  were 
Fra  Giocondo,  and  Antonio 


FIG.  35. — PALAZZO  VENDRAMIN  CALERGI,  GRAND 

CANAL,  VENICE.     {Photo.  Alinari.) 


Riccio  of  Verona,  and  the  glorious  family  of  the  Solari,  known  by  the 
name  of  Lombardi,  a  family  that  came  originally  from  the  Lake  of 

21 


ART  IN  NORTHERN  ITALY 


FIG.   36. 


-SCUOLA   DI   S.    ROCCO,   VENICE. 

{Photo.  Alinari.) 


Lugano,   and  whose  art  was  manifested  in  many  a  city  of    the 
Venetian  domain.     The  founder  of  this  family  was  Pietro,  who 

died  in  1515;  he  was  suc- 
ceeded by  his  sons  Antonio 
and  Tullio,  and  his  nephew 
Sante.  It  must,  however, 
be  noted  that  not  all  the 
works  hitherto  attributed 
to  this  Pietro  are  really  by 
him.  The  clock  tower,  in 
the  Piazza,  for  example 
(Fig.  30)  is  by  Coducci, 
an  artist  who  has  too  long 
been  denied  the  credit  due 
to  him  as  the  author  of 
various  buildings,  in  addi- 
tion to  the  church  of  S. 
Giovanni  Grisostomo  and 
that  of  S.  Michele  di  Murano.  It  is  now  known  that  along  with 
Antonio  Gambello  he  worked  on  the  superb  facade  of  S.  Zaccaria 
(Fig.  32)  and,  with  Pietro  Lombardo  and  Giovanni  Buora,  on  the 
no  less  magnificent  front  of  the  Scuola  di  S.  Marco  (Fig.  29).     So, 

too,  Giovanni  Candi 
is  now  acknowledged 
as  the  architect  of  the 
open  spiral  staircase 
of  the  Palazzo  Con- 
tar  ini  dal  Bovolo, 
with  its  balustrades 
and  inclinedarchesso 
arranged  as  to  merge 
themselves,  to  the 
right,  into  the  hori- 
zontal loggias. 

Recent  research 
has  also  resulted  in 
an  increased  recog- 
nition of  the  merits 
and  the  fame  of 
Antonio  Riccio.  In 
the  Ducal  Palaces  parts  of  the  Arco  Foscari  must  be  given  to  him 
as  well  as  the  Scala  dei  Giganti  (Fig.  37),  and  there  is  reason  to 

22 


FIG.   37. COURTYARD  OF  THE  DOGE'S  PALACE,   VENICE. 

(Photo.  Alinari.) 


VENICE 


^ffiil^^ 

gW 

FIG.   38. — PALAZZO   MONTECLCCOLI,   GRAND  CANAL, 

VENICE.     {Photo.  Alinari.) 


believe  that  we  owe  to  him  the  original  idea  and  the  initial  execution 
of  that  exquisite  marble  efflorescence — the  eastern  facade  of  the 
great  court  (Fig.  37),  in  the 
rebuilding  of  which,  after 
the  fire  of  1483,  Pietro 
Lombardi,  Lorenzo  Bregno 
and  Antonio  Bondi,  known 
as  Lo  Scarpagnino,  had 
also  their  share.  The 
latter  was  the  architect  of 
the  Scala  d'Oro  in  the 
Ducal  Palace,  of  the  Fab- 
hriche  Vecchie  at  Rialto, 
of  S.  Giovanni  Elemosi- 
nario,  as  well  as  the  execu- 
tant of  the  designs  of  other 
men. 

Bartolomeo  Buono  and 
Guglielmo  Grigi  owe  their  fame  more  especially  to  the  Procuratie 
Vecchie  (Fig.  30),  the  residence  of  the  nine  Procuratori,  who,  after 
the  Doge,  were  the  representatives  in  Venice  of  the  highest  authority 
and  the  supreme  power.  Buono  was  also  the  builder  of  the  upper  storey 
of  the  Campanile  of  S.  Mark  and  of  the  Scuola  di  S.  Rocco  (Fig.  36). 

But,  as  we  have  already  stated,  the  most  active  and  the  most 
glorious  family  at  this  pe- 
riod was  that  of  the  Lom- 
bardi. The  fame  of  Pietro, 
an  artist  of  supreme  taste, 
might  well  rest  upon  the 
Palazzo  Vendramin  Cal- 
ergi  (Fig.  35),  and  upon 
the  sepulchral  monuments 
of  the  Doges  Pietro 
Mocenigo  (Fig.  34)  and 
Marcello,  in  SS.  Giovanni 
e  Paolo.  But,  in  addition, 
he  has  given  us  the  most 
exquisite  work  of  the 
Venetian  Renaissance,  in 
the  church  of  S.  Maria 
dei  Miracoli,  both  wdthout  and  within  an  incomparable  jewel,  thanks 
to  exquisite  proportions  and  to  the  refined  elegance  of  its  decoration 

23 


FIG.   30. — CHURCH   OF  S.  SALVATORE,  VENICE. 

(Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


of  coloured  marbles  and  sculpture.  The  church  has  a  single 
nave  with  a  barrel  vault,  coffered  and  gilded,  and  adorned  with 
paintings  by  Girolamo  Pennacchi  of  Treviso,  The  steps  that  ascend 
to  the  presbytery  are  flanked  on  either  side  by  a  balcony,  the 
balustrades  of  which  terminate  in  the  pulpits  where  the  gospel 
and  the  epistle  are  read.  The  square  apse  is  crowned  by  a  circular 
cupola,  connected  with  it  by  means  of  a  charming  arrangement  of 
lunettes  and  pendentives  in  the  Tuscan  manner. 

In  some  of  these  undertakings,  Pietro  had  as  assistants  his  sons 

Antonio  and  Tullio, 
who  were  brought  up 
by  him  and  trained  to 
the  art  from  their  child- 
hood. And  they  in 
their  turn  worked  har- 
moniously together  at 
Padua,  in  the  Chiesa 
del  Santo;  at  Treviso, 
in  the  Cathedral;  at 
Venice,  in  the  Zeno 
chapel  in  St.  Mark's, 
*  and  on  the  sepulchral 
monuments  of  the 
Doges  Vendramin 
(Fig.  42)  and  Giovanni 
Mocenigo  in  the  church 
of  SS.  Giovanni  e 
Paolo.  Antonio,  how- 
ever, died  in  1516, 
while  still  a  young  man, 
and  Tullio,  who  sur- 
vived him  for  sixteen  years,  carried  on  alone  at  Venice  many  other 
works  of  architecture  and  sculpture,  completing  the  church  of 
S.  Salvatore  (Fig.  39),  which  had  been  begun  by  Spavento,  and 
working  with  the  chisel  in  the  Scuola  di  S.  Marco,  in  the  Ducal 
Palace,  and  in  Ravenna,  where  the  statue  of  Guidarello  Guidarelli  is 
his  accepted  masterpiece.  In  addition  to  his  sons,  Pietro  trained 
other  pupils  and  had  other"followers,  so  that  there  is  some  difficulty 
in  the  attribution  of  not  a  few  of  the  buildings  of  Venice  that 
bear  the  stamp  of  his  school.  In  traversing  the  Grand  Canal, 
for  example,  all  we  can  say  of  such  palaces  as  the  Grimani,  at 
S.  Polo,  the  Corner  Spinelli  (Fig.  43),  the  Manzoni,  now  Monte- 

24 


FIG.   40. — EVE  AND  ADAM.       (ANTONIO   RICCIO.) 

Doge's  Palace,  Venice. 


VENICE 


cuccoli  (Fig.  38),  the  Angaran  Dario  and  others,  is  that  they  are 

"  Lombardesque  "  in  character.     The  School  of  the  Lombardi  was 

indeed    widely    spread    over    the 

whole   of   the   Venetian   territory; 

it  penetrated  even  into  some  parts 

of  Lombardy  and  the  Emilia;  the 

works  executed  by  Pietro  and  his 

sons  in  the  Venetian  cities  of  the 

mainland  contributed  to  this.    To 

the  last  member  of  this  Lombardi 

family,  to  Sante,  the  son  of  Tullio, 

we   may   attribute   the    Malipiero 

Palace,  in  the  parish  of  S.  Maria 

Formosa,  and  finally  the  Church 

of  San  Giorgio  dei  Greci  (Fig.  45). 


The  question  may  be  asked: — 

A'  .  J     ^^1  ■    ,  [  FIG.   41. — CHURCH  OF  S.   MARIA  DEI 

re  we  to  regard    the    artists   ot  miracoli,  venice. 

whom   up   to   this  point  mention 

has  been  made  as  architects  or  sculptors?     The  fact  is,  they  were 

all   at   times   both  one  and   the 


^^ 

II    1     ^^^MM 

K 

1 

^ 

\Jt^  ■".'!% 

1' 

ar 

its 

wdtma 

^I^I^^I^B       *w»w^J^B  1 

FIG.  42. — MONUMENT  OF  THE  DOGE   VEN- 

DRAMIN,  CHURCH  OF  SS.   GIOVANNI   E 

PAOLO,   VENICE. 


other,  when  indeed  they  were 
not  also  painters.  According  to 
their  way  of  looking  at  the 
matter,  and  what  is  more  im- 
portant, in  their  actual  practice, 
the  work  of  the  architect  de- 
veloped itself  by  means  of  sculp- 
ture, just  as  in  that  of  the 
musician  the  melodic  theme  is 
worked  out  with  the  assistance 
of  harmony.  The  task  in  hand, 
therefore,  had  its  birth  and  came 
to  maturity  in  the  architect's 
mind — there  was  a  perfect  har- 
mony both  as  concerns  the  con- 
structive lines  and  the  scheme  of 
ornament.  And  this  is  one  of  the 
essential  characters  of  Venetian 
art.     In  Florence  the  task  of  the 


25 


ART  IN  NORTHERN  ITALY 


architect  was  carried  out,  almost  without  exception,  apart  from  that 
of  the  sculptor,  so  that  it  often  happened  that  each  of  them  worked 
alone,  and  they  only  combined  their  forces  when  the  first  had  need 
of  the  second.  Hence,  the  buildings  arose  on  simpler  lines  and  the 
sculptors  produced  a  greater  number  of  independent  works.  Thus, 
too,  it  came  about  that  while  in  the  case  of  the  sepulchral  monuments 
in  their  churches,  the  Florentine  sculptors  gave  evidence  of  less 
architectural  feeling  than  the  Venetians,  so  on  the  other  hand,  when 
the  Venetians  had  to  erect  isolated  statues,  conscious  of  their  inferiority 

to  the  Florentines,  they  had  re- 
course to  them.  The  tombs  de- 
signed by  Desiderio  da  Settignano, 
by  Mino  da  Fiesole  or  by  Rossel- 
lino,  however  marvellous  in  their 
grand  simplicity,  are  not,  on  the 
whole,  on  the  architectural  side, 
comparable  with  the  superb  monu- 
ments of  the  Doges  in  SS. Giovanni 
e  Paolo  and  in  the  Frari.  On  the 
other  hand,  no  one  of  the  Vene- 
tian sculptors  was  capable  of  erect- 
ing isolated  works  of  sculpture  as 
impressive  and  perfect  as  the 
"  Gattamelata  "  of  Donatello  or 
the  "  Colleoni  "  of  Andrea  Verro- 
chio  (Fig.  44).  The  sculpture  of 
Venice  lived  in  conjunction  with 
and  was  subordinate  to  the  archi- 
tecture from  which  it  sprang. 
We  must  not  be  thought  to  imply  that  the  Venetians  have  never 
produced  notable  works  of  sculpture;  yet  even  in  the  case  of  such 
works  as  Alessandro  Leopardi's  pedestals  of  the  flag-staffs  in  front 
of  S.  Mark's  (Fig.  46),  or  Antonio  Riccio's  Eve  and  Adam,  in 
the  Ducal  Palace  (Fig.  40),  or  the  two  busts  in  relief  by  Tullio 
Lombardi  in  the  Archaeological  Museum  in  Venice,  the  artists  have 
not  been  able  to  rise  above  decorative  lines  and  effects,  and  in  the 
trenchant  execution  of  their  work  they  have  never  approached  that 
admirable  harmony  of  form  and  sentiment  which  is  to  be  found  in  the 
sculpture  of  Tuscany.  Indeed,  they  thoroughly  understood  that  this 
sculpture  was  superior  to  their  own,  and  upon  it  their  eyes  were 
perpetually  fixed. 

Apart  from  this,  as  decorative  work,  let  us  repeat  once  more,  the 

26 


^ 

^^ 

^U\ 

"f-L,,.. 

lit 

"ll 

MkiM 

I 

Ji 

i 

w 

illllMIIIlilIlllillll. 

SI 

I 

m 

m 

1 

it 

--__ 

II 

£''''rrra 

llT 

FIG.   43. PALAZZO  CORNER  SPINELLI, 

VENICE.     (Photo.  Alinari.) 


VENICE 


FIG.   44. THE  COLI.EONI   MONUMENT, 

VENICE.     {Photo.  Alinari.) 


sculpture    of    Venice    had    by    the 

middle  of  the  fifteenth  century  at- 
tained to  a  notable  position,  so  that 

we  find  the  work  of  the  Venetian 

stonecutters  and  masons  in  request 

in  the  adjacent  cities,  in  Padua  and 

Verona,  for  instance,  and  soon  after 

in   more   distant   towns,    in   Milan 

and  again  in  Bologna,  where  they 

found    employment    in    the    lower 

part  of  the  facade  and  in  some  of 

the  lateral  windows  of  S.  Petronio, 

and  where  the  two   brothers  Pier 

Paolo  and  Jacobello  delle  Masegne 

have     left     us     several     sepulchral 

monuments  of  the  famous  lawyers 

of  the  day,  to  say  nothing  of   the 

great  reredos  in  S.  Francesco.    And 

indeed  it  must  be  acknowledged  that  in  this  first  period  the  Venetian 

sculptors  produced  works  that  display  an  exceptional  energy  both  in 

the  forms  and  in  the  sentiment;  it  is,  however,  only  too  true  that 

this  did  not  yield  all  the  fruits  that 
were  to  be  expected  from  it;  with 
Jacopo  della  Quercia  and  with 
Donatello  the  palm  passed  to  the 
art  of  Tuscany. 


BIBUOGRAPHY  OF  CHAPTER  H 

k'rjBBBSy'  I  .11  B  ^  ^H  I  Giorgio  Vasari,  Le  Vile  dei  piu  eccellentt  pillori, 

HWsr  LfTi^  n^^^H  fc  scultori    eJ    archileltori,    Florence.     1878-1885; 

I  -  SI,  "'  i^»4?]I_^l^l^^B  HBiftll         Francesco    Milizia.  Memorie    degli  archileiti    an- 
iiiii^i»-HBal^3Bi^^B^MW3F»  iichi  e  modemi,  Bassano,   1 763  ;   L^eopoldo  Cicog- 

VT  Ir^SrWwB^^CjB     XS         nara,    Storia    delta    Scollura,     Prato,    1 823-24 ; 
**'*^'  ^^^5^"^  l(B^  Amico    Ricci,  Storia    dell'Architettura     in    Italia, 

Modena.  1 837- 1 859  ;  J.  Burckhaidt,  Der  Cicerone. 
Leipsic,  1904;  Adolfo  Venluri.  Storia  dell' Ark 
Ifaliana.  Milan,  1901-1908;  Charles  C.  Perkins, 
Italian  Sculptors,  Boston,  1864  ;  Ralfaele  Cattaneo. 
L'Architetlura  in  Italia  dal  sec.  V  al  Mille, 
Venice,  1889;  L.  de  Beyli^,  L' habitation  hyzan- 
line,  Grenoble,  1 902  ;  Tommaso  Temanza,  Vite  del 
piu  celebri  architetti  e  scultori  veneziani  del  sec. 
Xyi,  Venice.  1778;  Pietro  d'Ofvaldo  Paoletti. 
L'Archilettura  e  la  Scoltura  del  Rinascimento  in 
Kenezia,  Venice,  1893;  Em.  Ant.  Cicogna,  Delle 
Inscrizioni  Veneziane,  Venice,  1 824—  1 833  ;  Tom- 
maso Temanza,  Antica  pianla  delTinclila  citia  di  Venezia,  Polese,  1781  ;£/enco  degli 
edifici  monumenlali  e  frammenti  slorici  e  artistic!  della  citia  di  Venezia,  Venice,  1905; 
L.  Cicognara,   A.   Diedo   and   G.  A.    Selva,   Le  fabbriche  e  i  monumenti  piu   cospicui   di 


FIG.  as- — CHURCH  OF  S.  GIORGIO  V)l.I 

GRECi,  VENICE.     (Pholo.  Alinari.) 


11 


ART  IN  NORTHERN  ITALY 

Ventzia  illuslrali,  Venice,  1856;  G.  Fontana,  Cento  palazzi  fra  i  piii  celebri  di  Venezia, 
Venice,  1 865 ;  Francesco  Sansovino,  Venetia  citld  nobilissima  e  singolare,  Venice,  1 58 1  ; 
Mothes,  Geschichte  der  Baukunst  und  Bildhauerei  Venedigs,  Leipsic,  1 859 ;  Pietro  Selvatico, 
SuW architettura  e  suUa  scoltura  di  Kenezia,  Venice,  1847;  Francesco  Zanotto,  Venezia  e  le  sue 
/agune,  Venice,  1847  ;  Pietro  Selvatico  and  V.  Lazari,  Guida  artislica  di  Venezia,  Venice,  1852  ; 
Vittorio  Alinari,  Eglises  el  "  Scuole"  de  Venise,  Florence,  1906;  Pompeo  Molmenti,  La  Sloria 
di  Venezia  nella  Vita  Privata,  Bergamo,  1905-1908;  Pompeo  Molmenti,  Venezia,  Bergamo, 
1907;  Pompeo  Molmenti  and  Dino  Msftitovani,  Le  isole  della  Laguna  Veneta,  Bergamo,  1904; 
Em.  Molinier,  Venise,  ses  arts  decoratifs,  Paris,  1 889 ;  Hans  van  der  Gabelentz,  Mittelalterliche 
Plastik  in  Venedig,  Leipsic,  1 903 ;  A.  G.  Meyer,  Das  venezianische  Grabdenkmal  der 
Friihrenaissance,  Berlin,  1889;  G.  Saccardo,  I  campanili  di  Venezia,  Venice,  1891  ;  Camillo 
Boilo,  La  basilica  d'oro  in  Questioni  praliche  di  Belle  Arli,  Milan,  1893  ;  La  Basilica  di  S. 
Marco  in  Venezia,  illustrata  nel  riguardo  dell'arte  e  della  sloria  da  scritlori  veneziani  sotlo  la 
direzione  di  Camillo  Boito,  Venice,  1881-86;  Pietro  d'O.  Paoletti,  Nuooi  ritocchi  alia  Sloria 
della  Chiesa  di  San  Marco,  Venice,  1905  ;  I,  1.  Tikkanen,  Le  rappr esentazioni  della  Genesi  in 
S.  Marco  a  Venezia  in  Archioio  Storicq  dell' Arte,  i,  Rome,  1888;  Antonio  Pasini,  //  tesoro  di 
S.  Marco,  Venice,  1 887  ;  Erich  Frank,  Bilder  zur  Geschichte  der  christlichen  Malerei,  Freiburg, 
1 888-92 ;  G.  B.  Lorenzi,  Monumenli  per  servire  alia  storia  del  Palazzo  Ducale,  Venice,  1 868 ; 
Camillo  Boito,  //  Palazzo  Ducale  di  Venezia,  Rome,  1 899 ;  Camillo  Boito,  Le  trifore  del 
Palazzo  Ducale  di  Venezia,  Rome,  1 899  ;  Vincenzo  Zenier,  Guida  per  la  Chiesa  di  S.  Maria 
Gloriosa  dei  Frari,  Venice,  1825;  V.  B.  Cecchetti,  La  facciata  della  Ca'  d'Oro  in  Archivio 
Venelo,  xxxi ;  Giacomo  Boni,  La  Ca'  d'Oro  e  le  sue  decorazioni  policrome  in  Archtvio  Veneto, 
xxxii ;  Michele  Caffi,  /  Solari  artisli  lombardi  nella  Venezia,  Milan,  1885;  Gerolamo  Biscaro, 
Pietro  Lombardo  e  la  Cattedrale  di  Treoiso  in  Arch.  Star.  dell'Arte,  viii,  Rome,  1895  ;  A.  Luzio 
e  R.  Renier,  Di  Pietro  Lombardo  architelto  e  scullore  veneziano  in  Arch.  Slor.  dell' Arte,  i,  Rome, 
1888;  C.  V.  Lutzow,  S.  Maria  dei  Miracoli  zu  Venedig,  Vienna,  1871  ;  Natale  Baldoria,  Statua 
di  Severo  da  Ravenna  in  Arch.  Slor.  dell'Arte,  iv,  Rome,  1891  ;  Natale  Baldoria,  //  Briosco  e  il 
Leopardi  architetti  di  S  Giuslina  in  Archtvio  Slorico  dell'Arte,  iv,  Rome,  1891  ;  M.  Guggenheim, 
Due  capolavori  d' Antonio  Rizzo  nel  Palazzo  Ducale  di  Venezia,  Venice,  1898;  Corrado  Ricci, 
Monumenli  veneziani  nella  Piazza  di  Ravenna  in  the  Revista  d'Arte,  Florence,  1905,  and  La 
statua  di  Guidarello  Guidarelli  in  the  Emporium,  xiii,  Bergamo,  1901  ;  Vincenzo  Zanetti,  La  Ba- 
silica dei  SS.  Maria  e  Donalo  di  Murano,  Venice,  1 873  ;  Hugh  A.  Douglas,  Venice  on  Foot, 
London,  1907  ;  Charles  Yriarte,  Venise,  Paris,  1878  ;  P.  Molmenti,  Ca  d'oro  o  Ca  Doro  in  Arte 
e  Storia,  xxviii,  Florence,  1 909. 


FIG.      46. — BASE      OF      FLAG- 
STAFF IN  PIAZZA  OF  S.  MARK, 
VENICE. 


28 


FIG.  47. — RIALTO  BRIDGE,  VENICE. 


CHAPTER  III 

VENICE 

Architecture   and    Sculpture   from   the    Sixteenth   to 
THE    Eighteenth    Century 

Sammicheli. — Sansooino  and  his  Works  in  Venice. — Palladia. — Scamozzi. — A.  da  Ponte. — The 
Baroque  Style. — B.  Longhena. — A.  Vittoria. — Decorative  Sculptors, 

After  the  times  of  the  Coducci,  Riccio,  and  the  Lombardi,  the 
architecture  of  Venice  attained  to  a  greater  opulence  and  solidity 

in     the    works    of     the    Veronese 

Michele  Sammicheli ;  it  is  to  him 
that  we  are  indebted  for  the  massive 
palaces  of  the  Grimani  at  S.  Luca 
(Fig.  48),  and  of  the  Corner  at 
S.  Polo,  as  well  as  for  the  Castle 
of  S.  Andrea  on  the  Lido.  On 
his  arrival  at  Venice  Sammicheli 
was  already  famous  as  a  military 
architect. 

The  study  of  antiquity  had,  how- 
ever, led  him  to  apply  decorative 
motives  even  to  works  of  a  purely 
defensive  character,  works  from  their 
very  nature  massive  and  plain;  so, 
on  the  other  hand,  the  study  of 
works  of  this  class  had  led  him  to 
adopt  a  greater  robustness  of  style. 
But  the  true  hero  of  this  period  was 
Jacopo  Tatti,  known  by  the  name  of  Sansovino,  a  Tuscan  sculptor 
and  architect  who,  after  the  famous  sack  of  Rome  in  1  527,  found 

29 


FIG.  48. — PALAZZO  GRIMANI,  VENICE. 

{Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


—^. 1 

■~T^.^^^^^r~3 

3 

^^'•Jr-  ^^^LJfe^l 

siji 

nng 

r  ( 

X    j 

"*■            .   :  - 

1  ^K 

F  —    1 

^^^^S 

fr-'l 

L^ 

|**^f^- 

FIG.  49. — MONUMENT  OF  THE  DOGE 
FRANCESCO  VENIER,   VENICE. 

{Pholo.  AUnari.) 


his  way  to  Venice,  and  remained  at  work  there  up  to  the  time  of 

his  death,  that  is  to  say  for  htde  less  than  half  a  century,  leaving 

his  stamp  upon  certain  parts  of 
the  city,  just  as  his  contemporary, 
Michelangelo,  and  at  a  later  time 
Bernini,  left  theirs  upon  Rome. 
So  much  did  he  love  his  work  in 
Venice,  so  well  pleased  was  he 
with  the  splendour  and  the  beauty 
and  life  of  the  city,  that  he  persist- 
endy  refused  every  invitation  from 
the  Popes,  and  from  princes  such 
as  the  Dukes  of  Tuscany  and  of 
Ferrara. 

Before  he  came  to  Venice  he 
had  associated  with  and  indeed 
had  worked  together  with  many 
famous  masters  both  in  Florence 
and  in  Rome  ;  nevertheless,  he  did 
not  disdain  to  glean  suggestions 
and  motives  from  the  buildings  of 
his  new  domicile,   and  to  adapt 

himself  to  its  artistic  traditions  without  sacrificing  his  originality. 

One  of  Sansovino's  first  tasks  was  to  carry  on  the  work  at  the  Scuola 

della  Misericordia,  begun  on  the  plans  of  Leopardi  and  continued 

by  Pietro  Lombardi.     At 

the  same  time  he  applied 

himself    to    other    under- 
takings such  as  the  superb 

Palazzo   Corner  at  S. 

Maurizio    (now   the    Pre- 
fecture),   and,    again,    the 

nave  of  S.  Francesco  della 

Vigna.  To  these  were  soon 

added  the  Mint  (now  the 

Biblioteca),  and  the  Libre- 

ria;   to  be  followed  by  the 

Palazzo  Manin  (now  the 

Bank  of  Italy),  the  Log- 

getta    of    the    Campanile, 

that  enchanting  harmony  of  architectural  lines  and  of  sculpture  (Fig. 

55),  to  say  nothing  of  the  monument  to  the  bishop  Livio  Podacotaro 

30 


FIG.  SO." 


-THE  MINT,  NOW  THE  LIBRARY, 
VENICE. 


VENICE 


FIG.    SI- — PALAZZO  CORNER.    S.   MAURIZIO,   VENICE. 

(Photo.  Alinari.) 


(who  died  in  1 555)  in  S.  Sebastiano,  that  of  Francesco  Venier 
(died  1  556),  in  S,  Salvatore  (Fig.  49),  the  giants  on  the  top  of  the 
staircase  that  leads  from 
the  Court  of  the  Ducal 
Palace,  as  well  as  other 
smaller  but  not  less  beauti- 
ful works. 

Calling  to  the  memory 
such  works  as  these,  it  is 
impossible  to  escape  a  vivid 
impression  of  admiration 
and  wonder  which  is  not  in 
any  degree  neutralised  by 
the  cold  and  incongruous 
mass  of  the  Fabbriche 
Nuove  at  Rialto. 

Of  the  Zecca  (the  Mint, 
now  the  Biblioteca,  Fig.  50)  it  has  with  good  reason  been  said  that 
it  displays  at  the  same  time  "  the  profuse  liberality  of  the  man 
who  commissioned  it,  the  purpose  for  which  it  was  destined,  and 
the  solidity  of  structure  that  this  purpose  called  for."  The  play  of 
colour  given  by  the  bosses  of  the  rusticated  walls,  the  absence  of 
arches  and  of  balustrades  in  the  two  upper  storeys,  and  the  vigorous 
projection  of  the  architrave  mouldings,  give  to  this  building  an  air  of 

combined  richness  and 

'  ^    strength  ;  on  the  other 

hand,  it  is  richness 
combined  with  charm 
which  distinguishes  the 
Palazzo  Corner  (Fig. 
51),  with  its  arched 
windows,  its  slender 
double  columns  and  its 
graceful  balustrades 
poised  on  the  string- 
courses. But  without 
dwelling  further  upon 
the  works  of  Sansovino, 
it  may  be  said  at  once 
that  in  the  Libreria 
(Fig.  52)  he  erected  what  is  perhaps  the  most  magnificent  civil 
building  in  Italy,   and  that  he  raised  the  architecture  of  Venice 

31 


FIG.   52. — LIBRERIA  VECCHIA,  VENICE. 


ART  IN  NORTHERN  ITALY 


FIG.  S3. — PALAZZO  BAI.BI,  VENICE.      {Photo.  AlinaH.) 


to  the  level  which  had  been  reached  in  other  centres  on  the  return  to 
classical  formulas;  this  he  succeeded  in   doing   without   denying 

himself  a  certain  happy 
license  that  gave  to  his 
artistic  productions  a  new 
character  and  a  new  life, 
however  much  they  may 
have  provoked  the  displeas- 
ure of  the  great  Palladio. 
Palladio,  the  creator  of 
a  marvellous  architectural 
world  in  Vicenza,  in  the 
sea-born  city  never  suc- 
ceeded in  giving  expression 
to  all  the  moral  and  mate- 
rial elements  which  from 
this  time  forth  claimed  their 
place  in  the  arts  ;  in  the 
f  acadeof  S.  Francesco  della 
Vigna,  in  the  churches  of  S.  Giorgio  Maggiore  and  of  the  Redentore, 
and  in  the  convent  of  the  Carita,  he  has  left  us  works  which,  though 
classically  correct,  are  cold — works  that  make  it  perfectly  clear  to  us 
why  he  called  the  Palazzo  Ducale  "deforme"  (formless). 

After  this  the  artists  who  succeeded,  as  was  indeed  rational,  put 

Palladio  on  one  side  and 
maintained  the  traditions  of 
Sansovino,  whose  influence, 
like  that  of  Michelangelo  in 
Rome  and  in  Florence,  en- 
dured for  long.  Vincenzo 
Scamozzi  from  Vicenza  in 
his  magnificent  Procuratie 
Nuove  (Fig.  54)  simply 
followed  the  design  of  the 
Libreria,  adding  a  third 
story  of  his  own  invention, 
a  less  happy  conception. 
To  the  school  of  Sansovinc 
belonged  again  both  Ales- 
sandro  Vittoria,  to  whom 
we  are  indebted  for  the  Palazzo  Balbi  (now  Guggenheim, 
Fig.  53),  and  Antonio    da    Ponte,    the    architect   of    the   Carceri 

32 


-PROCURATIE  NUOVE,   VENICE. 

(Pholo.  Alinari.) 


VENICE 


(the  Prison),  and  of  the  Riaho  bridge  (Fig.  47),  ahhough  neither 
of   these   artists   disdained   to   accept   the   ampUfications   that   dis- 
tinguish the  beginning  of 
the  Baroque  style. 


lOJlOl 


FIG.    55. LOGGETTA     AT    THE    BASE    OF    THE    CAM- 
PANILE, s.  mark's,  VENICE.     (Photo.  AHtuwi.) 


Meantime  the  new  style 
had  asserted  itself  in  every 
part  of  Italy,  and  had 
brought  with  it  manifest 
resources  of  effect  and 
pomp.  It  is  indeed  idle 
at  the  present  day  to  per- 
sist in  decrying  a  style  that 
is  in  many  respects  worthy 
of  admiration,  a  style  rich 
in  ingenuity  and  fancy,  the 
consummate  mistress  of  all  technical  accomplishment.  The  Middle 
Ages  may  be  regarded  as  the  winter-time  of  art,  and  the  Renaissance 
as  the  spring;  the  Baroque  Period  was  in  very  truth  the  summer, 
with  its  heat,  its  dense  vegetation, 
its  hurricanes,  and,  we  may  perhaps 
add,  with  its  languor.  Every 
part  that  in  the  fifteenth  century 
had  been  soberly  handled  now  be- 
came exaggerated;  but  the  brain 
and  the  hand,  by  means  of  the 
powers  that  they  had  acquired 
in  unison,  worked  together  with 
facility,  as  if  the  heat  of  summer 
had  in  fact  rendered  them  freer 
and  more  elastic.  And  now  the 
pencil  and  the  brush,  tractable  and 
facile,  adapted  themselves  readily 
to  all  the  fantastic  feats  that  the 
will  of  the  artist  demanded  from 
them.  The  marble  took  on  aspects 
of  softness,  of  splendour;  at  times 
it  assumed,  as  it  were,  pictorial 
values,  according  as  it  was  striated  or  opaque,  mottled  or  trans- 
lucent. 

33  D 


FIG.   56. — CHURCH  OF  THE  SALUTE. 

%'ENICE.     {Photo.  AHnari.) 


ART  IN  NORTHERN  ITALY 


Among  the  architects  who  were  at  work  in  Venice  during  this 
period,  Baldassarre  Longhena  ranks  highest.     The  Church  of  the 
^ Salute  (Fig.  56)  would 


alone  suffice  to  entitle 
him  to  such  a  position; 
in  this  church  every 
arbitrary  caprice  pro- 
duces its  effect  and 
becomes  a  marvel  in 
itself— this  we  see  in 
the  great  spiral  but- 
tresses of  the  larger 
cupola,  in  the  smaller 
cupola  itself  behind  the 
great  one,  or  again  in 
the  two  bell-towers  be- 
hind the  former. 

Longhena    further 
enriched   Venice   with 

two  sumptuous  palaces — the  Pesaro  (now  the  Municipio,  Fig.  58) 

and  the  Rezzonico  (now  Minerbi,  Fig.  57). 

To    Antonio    Contino   we   now   assign   the   Ponte   de'    Sospiri 


-PALAZZO  REZZONICO,  VENICE. 

(.Photo.  Alinari.') 


(Fig.     60),     a     bridge 
of    poetry    rather    than 


that     owes     its     fame     to     the    legends 
to    its    artistic    merit. 

As  in  the  past,  many  of 
these  architects  were  at 
the  same  time  sculptors, and 
remained  faithful  to  the  cus- 
tom of  conceiving  and  exe- 
cuting design  and  decora- 
tion homogeneously.  But 
already  the  tendency  to  dif- 
ferentiate the  two  branches 
was  making  itself  felt,  to  the 
great  injury  of  art.  For  in 
this, as  in  other  respects,  art 
differs  from  science,  which 
derives  greater  strength  and 
greater  security  in  research 
from  specialisation. 
We  have  mentioned  Alessandro  Vittoria  as  an  architect.  As  a 
sculptor  he  took  a  position  in  no  way  inferior — rather  perhaps  a 

34 


FIG.   58.- 


-PALAZZO  PESARO,   VENICE. 

{Photo.  Alinari.) 


VENICE 


H 

^L  )\                    ^^^^1 

n 

fi^^l^ '^'*sc^^^| 

ri.r..z3^-.^^^^B 

n 

l^ffli 

Wmk 

■1 

^^^1 

1 

CHURCH  OF  S.  MOISE,  VENICE. 

{Photo.  Alinari.) 


FIG.  6o. — BRIDGE  OF  SIGHS,   VENICE. 

(Pholo.  Alinari.) 


higher  one.  We  may  find  evidence  of  this  in  his  own  tomb 
in  S.  Zaccaria,  richly  adorned  with  allegorical  figures,  again  in 
the  statue  of  St.  Sebastian  in  S. 
Salvatore,  in  that  of  St.  Jerome 
in  the  Frari  (Fig.  64),  and,  not 
to  mention  other  works,  the  mar- 
vellous busts  in  which  he  has 
succeeded  in  so  far  immortalising 
the  character  and  the  vitality  of 
his  models,  as  to  rival  the 
achievements  of  Titian  and  of 
Tintoretto.  Other  notable  sculp- 
tors of  the  school  of  Sansovino 
were  Guglielmo  Bergamasco, 
Girolamo  and  Tommaso  Lom- 
bardi,  and  Tiziano  Aspetti  (Fig. 
63);  but  above  them  all,  and 
taking  rank  beside  Vittoria,  stands 
Girolamo  Campagna,  with  his 
Pieta  in  S.  Giuliano  (Fig.  6 1 ),  and 
many  other  notable  productions. 

After  this  the  sculptors  of  Venice  fell  under  the  spell  of  Bernini; 
their  works  were  not  without  vigour,  but  they  showed  no  inclination 

35  D  2 


FIG.  6l. — PIETA.       (g.  CAMPAGNA.) 

Church  of  S.  Giuliano,  Venice. 


ART  IN  NORTHERN  ITALY 


-IM^HI    ' 

"  ■         

to  give  a  new  develop- 
ment to  their  accepted 
models. 

The  artists  most  in  vogue 
on  the  lagoons  at  this 
period  scarcely  rose  above 
mediocrity,  if  we  except 
the  sculptor  in  wood,  An- 
drea Brustolon  (Fig.  65), 
who,  thanks  to  the  fancy, 
energy  and  skill  shown  in 
his  works,  claims  a  higher 
place;  but  it  was  a  medi- 
ocrity that  allowed  them 
be  difficult  to  surpass  in 
the  production  of  isolated 


FIG.  62. — BRONZE  GATES,   LOGGETTA  OF  THE  CAM- 
PANILE,    (a.  gai.)     {Photo.  AUnari.) 

to    produce    works    which    it    would 
magnificence,   when  they  turned  from 
and    pretentious    statues,  to    the 
decoration     and     furnishing    of    '   /| 
churches    and    apartments   with       ^ 
inlaid  wood  and  gilded  stucco. 


BIBUOGRAPHY    OF    CHAPTER    III 

G.  Ebe,  Spatrenaissance,  Berlin,  1886; 
C.  Gurlitt,  Geschichte  Jes  Barockstils  des 
Rococo  und  des  Klassicismus,  vol.  i :  Qes- 
chichte  des  Barockstils  in  Italien,  Stuttgart. 
1887;  O.  Raschdorff,  Palast-Architekt'T 
von  Oberitalien  'und  Toscana  vom  XIII. 
bis  XVII.  Jahrhundert  ( 3  vol.),  Venice, 
Berlin,  1895;  R.  Dohme,  Norditalienische 
Centralbauten  des  XVII.  und  XVIII.  Jahr- 
hunderts  in  the  Jahrb.  der  Konigl.  Preuss. 
Kunstsamml.,  iii,  1)9;  Renard,  Ueber  Cer- 
tralbaulen  des  XVIII.  Jahrhunderts  in  the 
Sitzungsbericht  der  Kunstgeschichtlichen 
Gesellschaft.  Berlin,  1897,  iv;  R.  Dohme, 
Studien  zur  Architekturgeschichte  des  18. 
Jahrhunderts  in  L'utzow's  Zeitschrift  fur 
hildende  Kunst,  1878;  Francesco  Milizia, 
Memorie  degli  architetti  antichi  e  moderni, 
Bassano,  1 785 ;  Amico  Ricci,  Storia  dell' 
Archilettura  in  Ila'ia,  Modena,  1857-1859; 
Leopoldo  Cicognara,  Storia  della  Scoltura, 
Prato,  1823-24  ;  C.  C.  Perkins.  Italian  Sculp- 
tors, Boslon,  1864;  Tommaso  Temanza,  "Uite 
dei  piu  celebri   architetti  e  scultori   oeneziani 

dei    sec.     X'DI,    Venice,      1778;       Leixner,      

rtnaissance   in  "Oenedig,  Berlin,   1900;     Mothes.   Geschichte   der  Baukunsf   und  Bildhauerei 
'Denedigs,  Leipac,  1859;  Em.  Ant.  Cicogna,  Delle  Inscrizioni  'Ueneziane,  Venice,  1824—1853; 

36 


fig.   63. S.  MARTIN.       (tIZIANO  ASPETTI.) 

Museo  Archeolopico,  Venice. 
(Photo.  Anderson.) 

Der     Kirchenbau     der     Hoch-     und     Spat- 


VENICE 


Tommaso  Temanza,  Antica  pianta  ddl'incUla  cilia 
di  "Uenezia,  Polese,  1 78 1  ;  Elenco  degli  edifici  monu- 
mentali  e  frammenli  storici  e  arlistici  della  cilia  di 
Venezia,  Venice,  1903;  L.  Cicognara,  A.  Diedo  and 
G.  A.  Selva,  Le  fabbriche  e  i  monumenli  piu  cospicui 
di  "Venezia  illuslrali,  Venice,  1 856 ;  G.  Fontana, 
Cenlo  palazzi  fra  i  piu  celebri  di  "Oenezia,  Venice, 
1 865 ;  Pietro  Selvatico,  Sull'  archilellura  e  sulla 
scollara  in  "Uenezia,  Venice,  1 847 ;  Francesco 
Zanotto,  "Uenezia  e  le  sue  lagune,  Venice,  1 847  ; 
Charles  Yriarte,  "Oenise,  Paris,  1878  ;  L«ixner, 
Michele  Sanmicheli  Baumeisler  von  "Verona,  in  the 
Allgem.  Bauzeilang,  1904,  n.  4;  Vasari,  Le  vile, 
Jacopo  Sansooino,  vii,  465  :  Laura  Pittoni,  La  libreria 
di  S.  Marco,  Pistoia,  1903;  H.  Brown,  The  Carn- 
panile  of  S.  Marco  and  ihe  Loggetla  of  Sansooino  in 
the  Archileclural  Review,  1902,  pp.  41  and  95;  Laura 
Pittoni,  Jacopo  Sansooino  scullore,  Venice,  1909  ; 
F.  Fletcher,  Andrea  Palladia,  his  Life  and  Works, 
London,  1902;  Giacomo  Zanella,  "Oila  di  Palladia, 
Milan,  1880;  Camillo  Boito,  Leonardo,  Michel- 
angelo e  Palladia.  Milan,  1883;  Alfredo  Melani, 
Andrea  Palladia  in  I' AH,  Paris,  1890;  G.  B. 
Cecchini,  Delia  oila  e  ^e//e  lodi  di  Anl.  da  Ponle 
archilello  oeneziana  Venice,  1761  ;  Luigi  Serra, 
Nole  su  Alessandro  "Dilloria  in  Ausonia,  ii,  Rome, 
1903;  Luigi  Serra  in  Rassegna  d'Arle,  1908; 
E^ccardo  Predelli,  Le  memarie  e  le  carle  di  Ales- 
sandro IJiltoria  in  the  Arch.  Trenlino,  xxiii,  Trent. 
1908:  Fiimrael,  \[)ie  Terracotlabiislen  des  Ales- 
sandro "Dilloria  im  K.  K,  Oesierreichischen  Museum 
far  Kunsl  und  Industrie  in  the  Millheilungen  des 
K.  K.  Oeslerr.  Museums,  N.  F.  xi,  177;  Michele 
Caffi,  Baldassarre  Langhena  in  Arte  e  Storia,  viii, 
Florence,     1889;      G.    A.    Moschini,    La    chiesa    e    il 

Seminario  di  S.  Maria  della  Salute,  Venice,  1842  ;  Ricciotti  Bratd  and  Rodolfo  Protti,  Andrea 
Brastolan  in  the  Emporium,  xxviii,  Bergamo,  1908  ;  E.  Caronti,  L'Abazia  di  Praglia,  in 
the  Rivtsta  Storica  Benedeitina,  ii,  fasc.  vii,  Rome,   1907. 


FIG.  64. S.    JEROME,    CHURCH   OF 

S.     MARIA     DEI     FRARI,     VENICE. 

(al.  vittoria.)     (Photo.  Alinari.) 


no.  65. — shrine  in  the  church  of  s.  (iiacomo. 
(brustolon.) 


37 


FIG.  66. — S.  GEORGE  KILLING  THE  DRAGON.      (V.  CARPACCIO.) 

Scuola  of  S.  Giorgio  degl'  Schiavoni,  Venice.     (Photo.  Alinari.) 


CHAPTER  IV 

VENICE 
Painting  :  The  Schools  of  Venice  and  Murano 

Early  Painters  in  Venice. —  Gentile  da  Fabriano  and  Pisanello. —  The  Muranese  Croup. —  The 
Bellini. — Anlonello  da  Messina. — Alvise  Vivarini. — Carpaccio. 

We  now  come  to  what  is  one  of  the  greatest  marvels  of  the  world 
of  art — the  painting  of  Venice  from  Jacopo  Bellini  to  Tiepolo. 
This  painting  is  a  true  product  ot  Venice  and  of  its  territory,  differ- 
ing in  this  respect  from  Venetian  architecture  and  sculpture,  both  of 
which  often  drew  fresh  blood  from  foreign  elements. 

The  painting  of  Venice,  compared  to  that  of  Tuscany,  developed 
late.  In  the  fourteenth  century  Venice  was  little  influenced  by  the 
artistic  life  of  other  regions,  and  even  Byzantine  art  had  no 
continuity  in  the  city.  The  painters  of  the  trecento  who  found 
employment  here  were  without  exception  artists  of  the  second  or 
third  rank. 

Nevertheless,  the  delicate  work  of  Paolo,  who  is  mentioned  in 
various  records  from  1332  to  1358,  is  interesting;  still  more  so, 
that  of  Lorenzo  Veneziano  (Fig.  68),  who  immediately  succeeded 
him  and  was  advancing  in  his  art  from  about  1357  to  1379; 
although  he  availed  himself  of  the  new  technical  processes, 
Lorenzo  did  not  abandon  certain  Byzantine  forms.  Stefano  was 
at  work  in  a  kindred  style  and  at  the  same  period  (before  and  after 
1 380) ;  many  mediocre  paintings  by  the  followers  of  Paolo  and 
Lorenzo  were  long  attributed  to  this  artist. 

38 


VENICE 


FIG.  67. — S.  DONATO.     ALTAR-PIECE  AT 
MURANO. 


But  meantime  other  painters  ap- 
peared at  Venice — Donate  (painting 

from  1 344  ?  to  1 382),  who  collabo- 
rated with  Caterino,   an  artist  who 

flourished  between  1 362  and  1 382  ; 

and    finally    Giovanni    da    Bologna 

(working  1377-1389),  a  follower  of 

Lorenzo  ;   with  him  a  certain  modest 

Bolognese  element  found  its  way  into 

the  Lagoons  (Fig.  69). 

Meantime    the    New    Style    was 

pressing   in   from    every    side.     The 

schematic  coldness  of  Byzantine  forms, 

which  their  votaries  had  vainly  masked 

under  rich  accessories,  had  now  to 

give   way   to   simpler   and   healthier 

ideals.    The  Paduan  Guariento,  who 

passed  from  the  Byzantine  school  to 

the  simplicity  of  the  trecento,  came  to  Venice ;  he  had  been  invited 

to  decorate  the  Sala  del  Maggior  Consiglio  (lately  completed)  with 
large  frescoes,  the  subjects  of  which  were 
not  confined  to  sacred  history  (1 365-1 369). 
The  work  he  executed  there  has  now  for 
the  most  part  disappeared — what  remains 
(the  Paradise)  is  a  wreck.  None  the  less,  it 
must  be  borne  in  mind  that  he  recognised 
the  impossibility  of  subduing  the  splendour- 
loving  Venetian  spirit  to  the  severe  simplicity 
of  the  Giottesque  manner,  a  style  that  was 
never  appreciated  by  the  Venetians,  and  it 
was  certainly  not  within  the  power  of  such 
men  as  Nicoletto  Semitecolo  (at  work  1 353- 
l370),  Jacobello  di  Bonomo  (flourishing 
about  1 382,  Fig.  70),  Jacobello  Alberegno, 
who  was  already  dead  in  1397,  Nicolo  di 
Pietro  (at  work  1394-1409,  Fig.  71),  and 
a  few  others  of  their  kind,  to  impose  the 
new  art  upon  them.  There  was,  indeed,  at 
that  time  a  really  great  Venetian  artist,  but 
he  was  Venetian  by  birth  only,  not  in  his 

art — Antonio,  whose  work  we  shall  not  discuss  here ;   it  belongs  to 

the  history  of  Tuscan  Art.     He  was  not  understood,  nor  were  his 

39 


FIG.  68. — ANNUNCIATION. 
(LORENZO  VENEZIANO.) 

Accademia  Venice. 


ART  IN  NORTHERN  ITALY 


FIG.    69. VIRGIN  AND  SAINTS.       (GIOVANNI  DA 

BOLOGNA.) 

Accadcitiia,  Venice.     (PIwlo.  Naya.') 


works  in  demand  in  Venice. 
The  Venetians  also  remained 
indifferent  to  the  innovations 
of  Tommaso  Barisini  of  Mo- 
dena  (1325-1376)  at  Treviso 
and  or  Ahichiero  and  Jacopo 
Avanzo  at  Verona  and  Padua. 
These  men,  no  longer  satisfied 
with  the  formulas  of  the  tre- 
cento, and  seeking  in  nature 
new  elements  of  truth  and  new 
emotions,  had  by  this  time  ad- 
vanced the  art  of  painting  to 
a  notable  position  in  the  Vene- 
tian territory. 

The  destiny  that  was  denied 

to  them,  of  giving  new  life  to 

Venetian    art,    fell    to    the   lot 

of   Gentile   da    Fabriano    and 

Vittore  Pisanello. 

Gentile  arrived  in  Venice  in   1408,  and  worked  in  the  Ducal 

Palace  up  to  about   1414;    Pisanello  succeeded  him  a  few  years 

later,    perhaps   about    1430.     The   influence   of   Gentile   was    not 

confined  to  the  great  Pisanello.     A  whole  group  of  painters,  among 

whom  the  most  conspic- 
uous are  Michele  Giam- 
bono  (1400? -1462?), 
JacobellodeFlor(1380?- 
1440— Fig.  74),  Antonio 
Vivarini  (Fig.  73)  and 
Jacopo  Bellini,  were  in- 
spired by  him.  In  the  end, 
the  last  two  of  these  artists, 
as  their  wings  grew,  taking 
independent  flight,  sepa- 
rated from  one  another 
and  proceeded  by  different 
routes ;  the  first,  rich  and 
decorative,  tended  to 
strengthen  the  group  of 
artists  working  at  Murano  ; 
the    other,     profound     and 


FIG.  70. — VIRGIN  AND  SAINTS. 
(jACOBELLO  DI  BONOMO.) 

Church  of  S.  Arcangelo,  Romagna. 
{Photo.  Giovanelli.) 


40 


VENICE 


FIG.   71. VIRGIN  ENTHRONED  WITH 

SAINTS.       (nICOLO  DI  PIETRO.) 

Accademia,  Venice.     (.Photo.  Filippi.) 


illustrative,  led  the  way  to  the  true 
Venetian  school. 

The  Muranese  group  of  painters 
had  long  worked  apart  from  the 
Venetian  school.  From  an  early 
period  they  showed  certam  tenden- 
cies which  were,  however,  not  de- 
veloped till  a  later  time.  In  the 
church  of  S.  Donato  at  Murano  there 
is  an  altarpiece  dated  1310;  in  the 
central  compartment  there  is  a  poly- 
chrome carved  figure  (Fig.  67),  but 
the  figures  on  either  side  are  painted 
on  the  flat.  Now  this  combination  of 
sculpture  and  painting  was  continued 
for  long,  and  was  still  practised  even 
by  Antonio  and  by  Bartolomeo  Viv- 
arini.  So,  again,  while  in  the  art  of 
Verona  and  Venice  a  foreign  influence 
which  may  doubtless  be  traced  played 
an  unimportant  part,  at  Murano  we 
find  a  foreigner,  Giovanni  D'Alemagna,  accepted  straightway  as  a 
collaborator,  one  who,  if  he  did  not  bring  with  him  any  great  charm, 
in  the  paintings  he  executed  in  combination  with  Antonio,  accen- 
tuated the  relief  and  ornamental  richness  of  the  work,  and  exercised 
a  predominance  that  reveals  a  character  of  a  stronger  temper  than 
that  of  his  colleague.  In- 
deed we  have  proof  of 
the  dependent  nature  of 
Antonio  (Fig.  73)  in  the 
fact  that  after  the  death 
of  the  German  Giovanni, 
he  did  not  seize  the  op- 
portunity to  recover  his 
independence,  but  felt  the 
need  of  combining  with 
his  brother  Bartolomeo, 
a  painter  who,  to  the 
traditional  elements  of  his 
art,  had  added  certain 
others  from  the  school 
of   Francesco   Squarcione 


H 
& 

iM 

M 

FIG.   72. — S.  LUCIA.      QLIRIZIO  DA  MURANO. 

Gallery,  Rovigo. 


41 


ART  IN  NORTHERN  ITALY 


FIG.    73- 


-VIRGIN  AND  SAINTS.      (ANTONIO  VIVARINI.) 

Accademia,  Venice. 


of  Padua,  giving  an  element  of  strength  thereby  to  the   work  of 

the  Muranese  school  in  contrast  to  the  art  of  Jacopo  Bellini. 

Bartolomeo  Vivarini, 
who  was  born  about  1 425, 
and  died  perhaps  in  1499, 
a  rude  and  incisive  painter, 
and  Carlo  Crivelli  (born 
in  Venice  about  1440, 
died  about  1494  in  the 
Marches),  a  man  of  aris- 
tocratic temper,  who  com- 
bined magnificence  with 
elegance  and  gaiety,  were 
the  two  greatest  orna- 
ments of  the  Muranese 
group,  a  group  which  at 
this  time,  in  addition  to  a 

few  worthy  but  anonymous  painters,  included  Quirizio  da  Murano 

(second  half  of  the  fifteenth  century,  Fig.   72),  and  Antonio  da 

Negroponte  (Fig.  76). 

Crivelli,  however,  passed  almost  the  whole  of  his  life  far  from 

Venice,  in  the  district  of  the  Marches,  and  thus  in  contact   with 

Umbria ;    and  to  this  contact  we  may  attribute  a  certain  softening 

of  his  manner.     In  the  land 

where  he  had  pitched  his 

tent,  he  left  behind  him  a 

school   which,   if  not  of  a 

very  high  class,  was  at  any 

rate  prolific. 

Carlo    Crivelli    followed 

the  current,  which  was  later 

followed  likewise  by  Lorenzo 

Lotto,  and  adorned  with  his 

charming  works  (Figs.  75, 

77)   the  fair  land  that  de- 
scends from  the  Apennines 

to    the    sea     between    the 

streams  of  the  Chienti  and 

the  Tronto. 

It    is,    however,    Jacopo 

Bellini  whom  we  must  hold  to  be  the  earliest  of  the  heroes  of  the 

true  pittura  Veneziana.     A  pupil  of  Gentile  da  Fabriano,  he  died 

42 


FIG.  74. — CORONATION  OF  THE  VIRGIN. 
(JACOBELLO  DI  FLOR.) 

Accademia,  Venice. 


VENICE 


in  1470,  and  his  birth  must  have  taken  place 
at  the  end  of  the  fourteenth  century.  We  know 
indeed  that  in  1424  he  was  appointed  by  his 
father  one  of  the  executors  of  his  will,  and  that 
in  1 429  he  was  already  married  to  the  wife  by 
whom  he  became  the  father  of  Gentile  and  of 
Nicolosa.  The  latter  was  married  in  1433  to 
Andrea  Mantegna,  then  a  young  man  of  twenty- 
two.  Giovanni,  the  more  celebrated  son  of 
Jacopo,  was  illegitimate. 

Jacopo  worked  much  both  in  Venice  and  on 
the  mainland — at  Padua,  at  Verona,  at  Ferrara, 
and  other  towns ;  but  few  of  his  pictures  have 
survived,  although  of  late  years  a  most  rigorous 
search  has  been  made  for  them.  Indeed,  the 
few  works  that  have  come  down  to  us,  among 
which  the  Madonnas  at  Lovere  and  in  the 
Uflizi  (Fig.  79)  are  the  most  important,  scarcely 
enable  us  to  form  an  estimate  of  his  merits  as  a 
painter.     Of  a  painter 


FIG.   75. —  VIRGIN   AND 

CHILD  ENTHRONED. 

(CRIVELLI.) 

Brera,  Milan. 
{Photo.  Anderson.') 


FIG.   76. — VIRGIN  AND  GHII-D. 
(ANTONIO  DA  NEGROPONTE.) 

Church  of  S.  Francesco  della 

V'igna,  \'cnici'. 

(PIwlo.  Alinari.) 


we  say — for  proof  of 
his  culture,  his  fervid 
fantasy,  and  his  dex- 
terity of  hand,  we  have  in  the  two  books 
of  drawings,  now  preserved,  one  in  the 
Louvre  (Fig.  78),  the  other  in  the  British 
Museum,  drawings  so  complex  and  various 
in  subject,  so  rich  in  motives  and  in 
sentiment,  that  they  furnish  occasion  for 
research  and  study  as  do  few  other  works 
of  Italian  art.  Born  in  a  city  that,  rising 
miraculously  from  the  sea,  appeared  rather 
a  dream  than  a  reality,  growing  up  there 
at  a  time  when,  in  it,  as  in  no  other  city, 
the  arts  of  sundry  times  and  of  divers 
manners  were  in  turn  lending  their  aid  to 
works  of  individual  creation,  when  the 
Gothic  arch  of  mediaeval  days  was  wedded 
to  the  richly  adorned  arch  of  the  Renais- 
sance and  classic  motives  to  Oriental  pro- 
fusion ;  living  in  close  communion  with 
artists  who,  like  Gentile  da  Fabriano, 
43 


ART  IN  NORTHERN  ITALY 


FIG.  77. — ANNUNCIATION.      (CRIVELLI.) 

National  Gallery,  London. 
(Photo.  Hanfstaengl.) 


were  emancipating  their  figures  from  the  bonds  of  the  trecento,  and 
adorning  them  with  a  new  beauty  and  a  new  richness ;    or,  Uke 

Andrea  Squarcione,  were  demanding 
from  their  pupils  the  admiration  and 
the  study  of  antique  models ;  or, 
again,  like  Vittore  Pisanello,  were 
turning  a  scrutinising  eye  to  the  beau- 
ties of  nature,  to  animals  and  to 
plants,  Jacopo  Bellini  had  a  mind 
ready  to  receive  every  impression, 
whether  realistic  or  fanciful.  Thus 
it  is  that  he  has  left  us  works  which 
are  at  the  same  time  learned,  artistic 
and  poetical. 

It  was  with  him  that  the  canons  of 
Venetian  art  were  definitely  fixed ; 
it  was  with  his  two  sons  that  this 
art  rose  to  a  complete  personality 
and  to  an  incomparable  splendour. 
But  between  the  work  of  Jacopo  and 
that  of  his  sons  a  new  element  of 
strength  had  appeared,  and  this  was 
the  art  of  Antonello  da  Messina,  more  penetrating  in  its  research 
into  the  facts  of  life,  and,  by  means  of  a  more  skilful  use  of  oil 
as  a  vehicle,   technically   more  solid.     His  religious  pictures   are 

beautiful  (Fig.  80),  but  it 
is  his  portraits  that  are 
above  all  admirable  in  their 
strength  of  color  and  in- 
tensity of  expression  (Figs. 
8 1 ,  82).  Antonello  was 
born  in  Messina  about  the 
year  1 430 ;  he  probably 
made  his  first  essays  in  the 
workshop  of  his  father,  who 
was  a  sculptor,  or  in  that 
of  some  painter  of  the  city. 
After  this,  according  to 
some,  we  must  suppose  that 
he  carried  his  studies  to  a 
higher  level  at  Naples,  where  at  this  time  there  was  a  school  which 
imitated  the  Flemings.     By  about  1456,  however,  he  was  back  in 

44 


FIG.  78.  — S.  GEORGE— A  DRAWING.    (jACOPO  BELLlNl). 

Louvre,  Paris.     {Photo.  Giraudon.) 


VENICE 


his  native  town,  and  we  have  docu- 
mentary evidence  in  some  abundance 
to  prove  that  he  remained  there  up  to 
1474.  In  that  year  he  made  his  way 
to  Venice,  and  in  1476  to  Milan, 
from  which  town  he  returned  to  Mes- 
sina, where  he  died  in  1479.  During 
a  long  period  of  his  life  the  manner 
of  Antonello  reveals  the  indirect  in- 
fluence of  the  Flemings  and  Catalans ; 
but  at  length,  in  the  Condotliero  of 
the  Louvre  (Fig.  81)  and  in  the 
Crucifixion  at  Antwerp  (1475)  his 
personality  asserts  itself  more  strongly, 
and  we  have  proof  of  the  immediate 
benefit    that    he    received    from    the 

,,    1  J^ ^1,,„ ;„i„      tU„      „,f      „„J       iL  FIG.   79. VIRGIN  AND  CHILD. 

suaden   plunge   mto   trie   art   and   trie  (jacopo  bellini.) 

surroundings  of  Venice.       He   not  only      Uffizi,  Florence.         {Photo.  AHnari.) 

himself     derived    benefit     from     this 

visit,  but  it  was  the  source  of  benefit  to  others ;  and  this 
is  made  manifest  in  the  work  of  his  followers,  first  among 
whom  we  must  reckon  Alvise  Vivarini  (1447-1504). 

It    is    in    his    portraits    that    we    have    the    best    evidence    of 

Alvise's  admiration  for  Antonello  ; 
but  the  influence  of  the  master 
would  naturally  not  be  confined 
to  these,  and  in  combination  with 
an  element  of  personal  initiative, 
this  influence  before  long  was  able 
to  draw  Alvise  out  of  the  orbit 
of  his  father  and  of  the  other 
painters  of  Murano,  and  subse- 
quently to  keep  him  also  outside 
the  orbit  of  the  Bellini,  the  domi- 
nating masters  of  the  day.  This 
affirmation  of  Alvise's  individuality 
may  be  dated  from  about  the  year 
1 480,  and  is  manifested  both  in  his 
technique  and  in  his  art.  From 
this  time  forth  he  gave  up  the  use 
of  the  polyptych  in  many  compart- 
ments and  of  isolated  figures  upon  a 

45 


IIG.  8o. — S.   JEROME.       (antonello  DA 
MESSINA.) 

National  Gallery,  London. 


ART  IN  NORTHERN  ITALY 


FIG.  8l. — PORTRAIT  OF  A  CONDOTTIERO. 
(ANTONELLO  da  MESSINA.) 

Louvre,  Paris. 


gold  background  ;  his  figures  were 
united  in  a  single  scene,  and  ar- 
ranged in  harmony  with  imposing 
architecture. 

To  this  advance  in  the  construc- 
tive elements  of  a  picture,  Alvise 
Vivarini  was  able  also  to  add 
the  development  of  individual  forms 
(Fig.  83),  and  thus  to  contribute 
his  share  to  the  great  work  of  prep- 
aration for  the  final  triumph  of 
Venetian  painting  that  was  to  be 
brought  about  by  Palma  Vecchio, 
by  Giorglone  and  by  Titian.  Of 
this  we  have  evidence  in  the  Resur- 
rection of  S.  Giovanni  in  Bragora 
at  Venice,  a  picture  which,  al- 
though not  on  the  whole  a 
pleasing  one,  shows  in  the  movement  of  the  chief  figure,  in  that  of 
the  startled  soldiers,  and  in  the  expression  of  their  faces,  an  im- 
portant advance  upon  purely  quattro- 
centist  art. 

Alvise  had  several  famous  dis- 
ciples, such  as  Bartolomeo  Mon- 
tagna,  Marco  Basaiti,  Lorenzo 
Lotto,  and  Jacopo  da  Valenza. 

The  fact  that  Vittore  Carpaccio 
was  a  pupil  of  Lazzaro  Bastiani 
(Fig.  86)  is  now  established,  but  as 
yet  we  do  not  know  whose  pupil 
Bastiani  was.  It  is  possible  that  he 
did  not  remain  for  long  with  any 
master,  and  that  he  gleaned  the 
elements  of  his  art  from  that  of 
Jacopo  Bellini,  a  much  vaster  field 
than  appears  at  the  present  day, 
and  from  that  of  Squarcione.  The 
birth  of  Bastiani  must  be  fixed  at 
about  the  year  1425,  and  his  death 
at  1512.  Thus  we  see  that  his  life 
had  his  share  in  three  periods  of 
the  chief  heroes  were  successively 
46 


FIG.  82. — PORTRAIT  OF  A  POET. 
(ANTONELLO  da  MESSINA.) 

Museo  Civico,  Milan.    {Photo.  Alinari.) 

was   a  long  one,   and  that  he 
Venetian  painting,  of  which 


VENICE 


Jacopo  Bellini,  Giovanni  Bellini  and  Tiziano  Vecelli.  Although 
he  was  able  to  find  his  way  out  from  the  first  of  these  periods, 
it  does  not  appear  that  he  even  tried  to  attain  to  the  third. 
But  in  the  second  of  them  he  moved  freely,  basing  his  com- 
position upon  principles  less  fantastic  than  those  of  Jacopo. 
While  on  the  one  hand  he  promoted  the  adoption  of  these 
principles  by  his  pupils,  on  the  other  he  did  not  disdain  himself 
to  accept  new  ones  from  these  same  pupils,  when  these  were  of 
the  calibre  of  Vittore  Carpaccio.  In  that  lavish  and  vivacious 
exponent  of  the  life,  the  surroundings,  and  the  atmosphere  of 
Venice  (Figs.  84,  85),  we  have  an  artist  to  whom  the  incidents  of 
sacred  history  were  but  pre- 
texts for  reproducing  on  his 
canvases  havens  and  canals, 
bridges,  palaces,  sleeping  apart- 
ments, rooms  devoted  to  study, 
reception  halls,  and  costumes  of 
every  grade  of  citizen,  from 
the  rough  mariner  to  the  bold 
warrior,  from  the  despised 
proletarian  to  the  sumptuously 
attired  lady. 

It  would  appear  to  be  now 
definitely  ascertained  that  Vit- 
tore was  born,  not  at  Capo- 
distria  but  in  Venice,  very  soon 
after  the  middle  of  the  fifteenth 
century,  and  that  he  died 
about  the  year  1525.  But  it 
is  only  at  a  comparatively  late  period  of  his  life  that  we  have 
any  notices  of  him,  or  that  we  can  identify  his  works.  In  fact, 
he  is  mentioned  for  the  first  time  in  1472,  and  he  carried  out  the 
celebrated  tempera  paintings  in  the  Scuola  di  S.  Orsola,  with  the 
story  of  that  saint,  in  the  last  ten  years  of  the  century.  This  wonder- 
ful cycle  was  the  first  great  work  of  Vittore,  and  remains  the  most 
important.  That  of  S.  Giorgio  degli  Schiavoni  (Fig.  66),  however, 
is  not  less  beautiful,  in  proof  of  which  I  may  cite  the  scene  where 
upon  a  wide  plain,  strewn  with  the  victims  of  the  dread  monster, 
St.  George  confronts  and  slays  the  Dragon ;  behind  is  a  wide  gulf  of 
the  sea,  surrounded  by  mountains  and  buildings ;  it  is  a  scene  that 
both  in  the  general  composition  and  in  the  various  incidents  recalls 
the  drawing  of  the  same  subject  by  Jacopo  Bellini  (Fig.  78). 

47 


FIG.   83. VIRGIN  AND  CHILD.    (ALVISE  VIVARINI.) 

Church  of  the  Redentore,  Venice. 
{Pholo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


BIBUOGRAPHY  OF   CHAPTER   IV 


FIG.  84- 


-S.  STEPHEN  DISPUTING  WITH    THE  DOCTORS. 
(VITTORE  CARPACCIO.) 

Brera,  Milan.     {Photo.  Alinari.) 


Ciorsio  Vasari  Le  Vile  dei  piU  eccellenti  pitlori,  scultori  ed  architetlori,  Florence,  1878-1885  ; 

Marcantonio  Michiel,  Nolizia  d'opere  di  disegno  pubbl.  da  Jacopo  Morelli,  second  edilion  edited 

by  Gustavo  Frizzoni,  Bologna,  1884;    Filippo  Ba^dinucci,  Nolizie  di  professori  del  disegno,  con 

varie  dissertazioni,  note  ed  aggiunte 
di  Giuseppe  Piacenza,  Turin,  1 768- 
1814;  Luigi  Lanzi.  Storia  pitlorica 
dell' Italia,  Milan,  1825;  Giovanni 
Rosini,  Storia  della  pittura  italiana, 
Pisa,  184!  ;  A.  Crowe  and  G.  B. 
Cavalcaselle,  A  History  of  Painting 
in  North  Italy,  London,  1871  ; 
Adolfo  Venturi,  Storia  dell' Arte 
italiana,  Milan,  1901-1908;  Julius 
Meyer,  Allgemeines  Kiinstler  Lexi- 
con, iii,  Leipsic,  1885  ;  U.  Thieme  and 
F.  Becker,  Allgemeines  Lexicon  der 
hildenden  Kitnsller,  i  and  iii,  Leipsic, 
1907-1908:  J.  Burckhardl  Der  Cice- 
rone,  Leipsic,  1 904  ;  Giovanni  Mo- 
relli (Lermolieff),  Le  opere  dei 
Maestri  Itahani  nelle  Qallerie  di 
Monaco,  Dresda  e  Berlino,  Bologna, 
1886;  Giovanni  Morelli,  Della 
pittura  italiana,  Milan,  1 897  ;  Bern- 
hard  Berenson,  North  Italian  Painters 
of  the  Renaissance,  London,  1 907 ; 
Eugene  Miintz,  L'Art  de  la  Re- 
naissance, Paris,  1 896  ;  Carl  Woer- 
mann,  Geschichte  der  Kunst  aller 
Zeiten  and  Volker,  Leipsic,  1905  ; 
Springer- Ricci,  Manuale  di  Storia 
dell' A  rte,  iii,  Bergamo,  1 909  ;  Gus- 
tavo Frizzoni,  Le  Qallerie  dell'Accademia  Carrara  a  Bergamo,  Bergamo,  1907  ;    Corrado  Ricci, 

La  Pinacoteca  di  Brera,  Bergamo,  1907  :    Fr.    Malaguzzi,    Catatogo    della   R.  Pinacoteca  di 

Brera,  Bergamo,    1908;    Francesco  Sansovino,    Venetia  citta   nobilissima  e  singolare,   Venice, 

1581  ;     Marco     Boschini,     Le     ricche 

minere  della  pittura  veneziana,  Venice, 

1 674  ;    Francesco  Zanotto,  Pinacoteca 

dell'Accademia     Veneta     delle     Belle 

Arti,  Venice.   1834;    Franc.   Zanotto, 

Venezia  e  le  sue  lagune,  Venice,  1 847  ; 

C.    Ridolfi,     Le     Meraviglie     dell'arte 

owero  le  vile  degli  illustri  pittori  veneti 

e  del  suo  stato,   Padua,    1835;     Pietro 

Sdvatico  and  V.  Lazari,   Cuida  artistica 

di  Venezia,  Venice,    1 852 ;    Bemhard 

Berenson,     The  Venetian    Painters    of 

the  Renaissance,  London,  1898  ;    Bern- 

hard     Berenson,      Venetian     Painting. 

chiefly    before    Titian,   in    The  Study 

and  Critciism  of  Italian  Art,  London, 

1901  ;    Pompeo   Molmenti,  La  Pittura 

Veneziana,    Florence,     1903  ;     Pompeo 

Molmenti,     /    primi    pitlori    veneziani 

in    the    Rassegna    d'Arte,    iii,    Milan, 

1903 ;    Pompeo  Molmenti.    La    Storia 

di  Venezia  nella  Vita  Privata,  Ber- 
gamo,   1905-1908;   Pompeo  Molmenti, 

Venezia,  Bergamo,  1907;  G.  Ludvng, 

Archioalische   Beitrage   zur  Qeschichte 

der    venezianischen     Malerei     in     the 

fahrbuch  der  K.  P.  Kunstsammluntien, 

Berlin,  1905;  Lionello  Venturi,  Pittura 

Veneziana,  y/en\ce.  1907;  l-audedeo  Testi,  Storia  della  Pittura  Veneziana,  Bergamo,  1909;  E. 

Zinmiermann,  Die  Landschaft  in  der  certezianischen  Malerei,  Leipsic,  1893  :   Emil  Schaeffer,  Die 

Frau  in  der  venezianischen  A/a/erei,  Munich,  1889;  Gustav  Ludwig,  Venezianischer  Hausrath 

zuT  zeit  der  fienaissance,  l^]m,  1906;  Michele  Caffi,  I  pittori  veneziani  nel  Millelrecento  in  the 

48 


UMfflTi'l  iiM^nif"" 

^Ifl 

f?^. 

',      r^^  ■      I 

FIG.  85. — FRAGMENT   OF   A    PICTURE  OF  AN   ENGLISH 
AMBASSADOR  TO  A  MOORISH   KING 
(VITTORE  CARPACCIO.) 

Gallery,  Venice.     {Photo.  Alinari.') 


VENICE 

Archioio  Venelo,  xxxv,  Venice,  1 888:  Michele  Caffi,  Pitlori  in  Venezla  nelsec.  xiy,  Venice,  1 888 ; 
Giuseppe  Gigli,  Per  un  quadro  di  Paolo  da  Venezia  in  the  Rassegna  d'Arte,  viii,  Milan,  1908; 
Andrea  Moschetti,  Giovanni  da  Bologna  in  the  Rassegna  d'Arte,  iii,  Milan,  1903  ;  Andrea  Mos- 
chetti,  //  paradiso  del  Quariento  nel  Palazzo  Ducale  di  Venezia  in  Arte.yu,  Rome,  1904; 
Giuseppe  CastaJdi,  Due  dipinti  del  comune  di  Santarcangelo  (Jacobello  di  Bonomo) ,  Santarcangelo, 
18%.  Pietro  d'O.  Paoletti,  Un'ancona  di  Jacobello  Bonomo  in  the  Rassegna  d'Arte,  ii,  Milan, 
1 903  ;  Julius  von  Schlosser,  Tommaso  da  Modena  und  die  dllere  Malerei  in  Treviso,  Vienna,  1 698; 
G.  Bertoni  and  E.  P.  Vidni,  Notizie  su  Tommaso  da  Modena  in  L  'A  rte,  vi,  Rome,  1 903  ;  Giorgio 
Vtisari,  Le  Vile  edited  by  Ad.  Venturi,  i,  with  the  lives  of  Qentile  da  Fabriano  and  of  Pisanello, 
Florence,  1 8% :  Arduino  Col«isanti,  Gentile  da  Fabriano,  Bergamo,  1 909 ;  Michele  Caffi, 
Giacometlo  del  Fiore  in  the  Arch.  Stor.  Itai,  Florence,  1880;  Giorgio  Sinigaglia,  De'  Vivarini, 
Bergamo,  1905.  Ignazio  Rizzi  Neumann,  Elogio  Accademico  dei  ViOarini  in  the  Atli  delta  R. 
Accaderrda  di  Belle  Arti,  Venice,  1816;  Pietro  d'O.  Paoletti,  Quiricio  da  Murano  in  the 
Rassegna  d'Arte,  i,  Rome,  1901  :  Michele  CaSi,  Andrea  da  Murano  in  the  Archioio  Veneto, 
Venice,  1887;  G.  MacNeil  Rushforlh,  Crioelli,  London,  1900;  Amico  Ricci,  Memorie  Storiche 
delle  Arti  e  degli  arlisti  nella  Marca  d'Ancona,  Macerata,  1834;  Giulio  Canteilamessa,  Artisti 
oemti  ntlle  Marche  in  the  Nuo\>a  Antologia,  Rome,  1892  ;  Corrado  Ricd,  La  pittura  antica  alia 
mostra  di  Macerata  in  the  Emporium,  Bergamo,  1906:  Pompeo  Molmenti.  /  pittori  Bellini 
in  Studi  e  ricerche  di  Sloria  ed  A  rte,  Turin,  1 892 ;  Pietro  d'Osvaldo  Paoletti,  Raccolta  di 
documenti  inediti  per  servire  alia  storia  della  pittura  oeneziana,  i.  /  Bellini,  Padua,  1894; 
Giulio  Cantalamessa,  L'arte  di  Jacopo  Bellini  in  the  Ateneo  Veneto,  xix,  Venice,  1896;  Corrado 
Ricci,  Jacopo  Bellini  e  i  suoi  libri  di  disegni,  Florence,  1 908 ;  Victor  Goloubew,  Les  dessins  de 
Jacopo  Bellini,  Brusseb,  1908;  George  Gronau,  /  Bellini,  Leipsic,  1909;  George  Gronau,  Die 
Qucllen  der  Biographic  des  Antonello  da  Messina,  Berlin,  1897  ;  G.  La  Corte  Caillier,  Antonello 
da  Messina,  Messina,  1903,  in  the  Gazzetta  di  Venezia  of  the  I  I  th  July,  1904,  and  in  the 
Gazzetta  di  Messina  for  March,  1904  ;  Luca  Beltrami,  Antoryello  da  Messina  chiamatoalla  corte 
di  Galeazzo  M.  Visconti  in  the  Arch.  St.  dell' A  rte,  vii,  Rome,  1894;  Pietro  Paoletti  and  Gust. 
Ludwig,  Neue  archivalische  Beitrage  zur  Geschichte  der  venezianischen  Malerei — die  Maler- 
familie  Bastiani  in  the  Repertorium,  xxiii.  Berlin,  1900;  Pietro  Paoletti,  Die  Gemalde  und 
Mosaiken  Lazzaro  Baslianis  und  seiner  Werkstatt  in  the  Repertorium,  Beriin,  1900;  P.  G. 
Molmenti,  //  Carpaccio  e  il  Tiepolo,  Turin,  1 885  ;  Gust.  Ludwig  and  Pompeo  Molmenti,  Vittore 
Carpaccio,  Milan,  1906;  Laudedeo  Testi,  Nuovi  studi  sul  Carpaccio  in  the  Arch.  Storico  Ital., 
Florence,  1904  ;  Osvaldo  Bohm,  L'  eglise  de  St.  Georges  des  Esclauons,  Florence,  1904. 


t^^B 


FIG.  86. — ^VIRGIN  AND  SAINTS,      (l.  BASTIANI.) 

Church  of  SS.  Maria  e  Donate,  Murano. 
(Photo.  Alinari.) 


49 


FIG.  87. PROCESSION  IN  THE  PIAZZA  OF  S.  MARK.       (gENTILE  BELLINI.) 

Gallery,  Venice.     {Photo.  Alinari.) 

CHAPTER  V 

"   VENICE 
The  Beluni  and  their  School 

Gentile   Bellini. — Giovanni   Bellini. — Marco   Basaiii. — Cima   da  Conegliano. —  Their  Contem- 
poraries and  Pupils. 

Gentile  Bellini,  like  Carpaccio,  was  a  marvellous  chronicler  of 
the  life  of  Venice,  and  for  both  we  may  claim  that  they  gave  to 
each  figure  or  portrait  a  character  and  a  physiognomy  of  its 
own,  so  that  it  may  be  distinguished  from  its  neighbours  not  only 
by  its  features,  but  by  the  very  pose  of  the  body,  a  matter  often 
neglected  even  when  the  craft  of  the  painter  had  achieved  a  richer 
and  more  expeditious  technique  than  they  could  boast.  There 
can  indeed  be  no  greater  source  of  pleasure  to  the  student  of  art 
than  the  careful  examination  not  only  of  the  whole  scheme,  but  of 
every  individual  figure  in  those  vast  canvases  {teleri)  which  Gentile 
painted  for  the  Scuola  Grande  of  St.  John  the  Evangelist.  The 
weary  old  man,  with  somewhat  unsteady  gait,  is  set  beside  the  bold 
youth,  in  dandified  attire,  who  advances  with  agile  step  ;  the  absent- 
minded  and  preoccupied  spectator  stands  side  by  side  with  the  true 
devotee,  absorbed  in  prayer ;  the  curiosity  and  admiration  shown 
by  some  of  those  in  the  procession  is  contrasted  with  the  indiffer- 
ence to  the  ceremony  that  long  habit  has  bred  in  the  ecclesiastics 
and  the  singers.  And  all  these  figures,  whose  various  emotions  are 
expressed  by  every  part  of  their  bodies,  move  in  a  spacious 
atmosphere  amid  imposing  architecture  studied  with  loving  care, 

50 


VENICE 


no.  88. FRAGMENT  OF  THE  PREACHING  OF  S.  MARK. 

(gentile  BELLINI.) 

Brera,  Milan. 


under  the  calm  and  diffused  light  that  so  well  suggests  space  and 

distance.     His  Procession,   painted  in    1496,   is  of  all    his   great 

works   the   one    that   best 

exemplifies     the     master's 

quality  (Fig.  87).     A  mer- 
chant   trom    Brescia,    one 

Jacopo    de    Salis,    at    the 

moment  when,  in  Venice, 

he   is   taking   part   in   the 

procession  in  the  Piazza  of 

St.  Mark,  hears    the    sad 

news  that  his  son  has  fallen 

and   is  mortally  wounded. 

He  falls  straightway  on  his 

knees,  praying  to  St.  Mark 

for  his  recovery.     Such  is 

the  subject  of  a  work  which  is  further  remarkable  for  the  careful 

rendering  of  costumes  and  buildings. 

Gentile,  the  only  legitimate  son  of  Jacopo  Bellini,  was   bom  in 

1429.     He  was  a  pupil  of  his  father  and  helped  him  in  some  of 

his  works.  In  1 469  he  was  knighted 
and  created  Count  Palatine.  Ten 
years  later  the  Signoria,  on  the  re- 
quest of  Mahomed  II.  for  a  good 
portrait  painter,  sent  him  to  Con- 
stantinople, where  he  remained  for 
a  year.  On  his  return  to  his  native 
city  he  lived  a  life  of  continuous 
labour ;  and  on  his  deathbed  he 
entreated  his  brother  Giovanni  to 
finish  his  Preaching  of  St.  Mark, 
now  in  the  Brera  at  Milan  (Fig.  88). 
Giovanni  Bellini,  Jacopo's  natural 
son,  who  was  born  shortly  after 
Gentile,  was  at  first  a  pupil  of  his 
father ;  he  then  started  a  workshop 
with  his  brother,  and  when  the 
latter  went  to  Constantinople,  took 
up  his  work  at  the  Ducal  Palace. 
In  this  he  was  occupied  for  some 

years  (assisted  latterly  by  several  of  his  pupils).     In  the  intervals  of 

this  task,  he  was  engaged  on  many  other  works,  up  to  the  time  of 

51  e2 


FIG.  89. — THE  ALBERETTI  MADONNA. 
(GIOVANNI  BELLINI.) 

Accademia,  Venice. 


ART  IN  NORTHERN  ITALY 


FIG.  90. — PIETA.      (GIOVANNI  BELLINI.) 

Brera,  Milan.     (Photo.  Alinari.) 


his  death  in  November, 
1516,  at  the  ripe  age  of 
about  eighty-five  years. 

The  nobiUty  of  his  design 
and  the  profundity  of  his 
sentiment,  entitle  Giovanni 
to  a  position  even  more 
commanding  than  that  of 
his  father  and  of  his  brother 
(Figs.  89,  90,  92,  and  93). 
In  the  matter  of  giving  char- 
acter to  his  creations.  Gen- 
tile was  no  doubt  stronger, 
but  he  was  at  times  not  a 
little  rough  and  wanting  in 
refinement.  Giovanni,  on  the  other  hand,  transfigured  his  plebeian 
models  with  his  own  nobility,  creating  dignified  types  which  were 
destined  to  be  admired  and  imitated 
by  a  whole  generation  of  artists. 

Giovanni,  following  in  this  his  old 
father,  whether  in  search  of  rest  or  in 
need  of  new  sources  of  artistic  satis- 
faction, loved  to  pass  from  the  ren- 
dering of  religious  subjects  to  the 
treatment  of  mythological  and  alle- 
gorical themes.  Of  these  we  have 
examples  of  incomparable  charm  in 
the  five  little  pictures  which  have  been 
brought  together  in  the  Academy  at 
Venice  and  also  in  the  so-called  alle- 
gory of  the  Souls  in  Paradise,  a 
work  founded  upon  a  French  poem 
of  the  fourteenth  century,  now  in  the 
Uffizi  at  Florence  (Fig.  93).  From  a 
close  adherence  to  the  teaching  of 
his  father,  he  passed  on  to  imitate  the 
work  of  Andrea  Mantegna,  a  training 
that  resulted  in  an  advance  in  the 
sciences  of  modelling  and  of  perspec- 
tive ;   nor  did  he  disdain,  shortly  after 

this,  to  profit  by  study  of  the  technical  methods  he  noted  in  the 
works  of  Antonello  da  Messina.     But,  at  length,  giving  free  course 

52 


FIG.  91. — THE  SONS  OF  ZEBEDEE. 

(marco  BASAITI.) 

Accademia,  Venice.  {Pholo.  Alinari.') 


VENICE 


FIG.  92. — VIRGIN  AND  SAINTS.       (GIOVANNI  BELLINI.) 

Church  of  the  Frari,  Venice.     {Photo.  Alinari.') 


to  his  native  talent,  he 
produced  those  glorious 
masterpieces  of  grace  and 
vigour,  of  beauty  and  of 
sentiment,  expressed  in 
w^arm  and  brilliant  colour, 
which  heralded  the  splen- 
dours of  Giorgione  and 
of  Titian.  Where  can  we 
find  a  more  admirable 
work  than  the  triptych  in 
the  Frari  ?  It  is  one  of 
those  superhuman  mani- 
festations of  genius  which 
diffuse  a  beneficent  sense 
of  sweetness  and  of  felicity. 
The  magnificence  of  the 
colour,  the  harmony  of  the 

decorative  motives,  above  all  the  sweet  and  pensive  ideality  of  the 
Virgin,  the  beauty  of  the  boy  angels,  the  austere  tranquillity  of  the 
saints,  all  these  elements  work  in  unison  to  complete  the  prodigy. 
Every  figure  is  instinct  with  reality,  but  virtue  has  filled  them  with 
solemnity,  and  tenderness  has  rendered  them  beautiful  and  worthy 

of  heaven  (Fig.  92). 

Some  few  among  con- 
temporary painters  re- 
mained faithful  to  the 
teachings  of  Alvise  Viva- 
rini  and  of  Bastiani,  but 
the  greater  number  were 
followers  of  Giovanni 
Bellini. 

Of  these  artists  the  great- 
est, as  we  shall  see,  was 
Bartolomeo  Montagna. 
Marco  Basaiti  (1460?- 
1 525  T)  who  came  of  a 
Dalmatian  or  Albanian  family,  and  whose  masterpiece.  The  Sons 
of  Zebedee  (Fig.  91),  is  in  the  Academy  at  Venice,  was  a  more 
limited  artist,  but  his  works  have  the  merit  of  a  certain  limpidity  of 
colour,  and  elegance  of  treatment.  An  affinity  to  Basaiti  is  visible 
in  the  work  of  Girolamo  Moceto,  who  lived  from  1 450  to  1 520 ; 

53 


FIG.  93. — SOULS  IN  PARADISE.    (GIOVANNI  BELLINI.) 

UflSzi,  Florence.     (Photo.  Alinari.^) 


ART  IN  NORTHERN  ITALY 


FIG.    94. — S.     PETER     MARTYR    WITH 
OTHER  SAINTS.     (CIMA   DA  CONEG- 

LiANO.)     Brera,   Milan. 
(Photo.  Alinari.) 


but  he  remained  to  the  end  a  frigid 
artist,  ahhough  distinctly  a  greater  man 
than  Jacopo  da  Valenza,  a  painter  who 
executed  many  works  at  Serravalle  di 
Vittorio,  but  who  was  condemned  by 
his  narrow  range  to  constant  repetition 
of  a  few  conventional  types. 

The  art  of  Gian  Battista  Cima  da 
Conegliano  was  not  derived  directly 
from  Alvise ;  it  was  through  Bartolo- 
meo  Montagna,  his  real  teacher,  that 
the  influence  of  the  Muranese  master 
was  transmitted  to  him.  He  was  born 
at  Conegliano  in  1459,  and  remained 
there  to  about  his  thirtieth  year ;  after 
this  he  passed  on  to  Vicenza.  About 
the  year  1492  he  fixed  his  abode  at 
Venice,  and  worked  there  for  more 
than  twenty  years.  Finally,  in  1516, 
he  returned  to  his  native  place,  and  there  in  the  following  year 
he  died.     To  his  respect  for  the  art  of  Alvise  and  of  Montagna, 

Cima,  and  indeed  all  the 
artists  of  his  circle,  added 
an  evident  admiration  for 
the  manner  of  Giovanni 
Bellini.  At  the  same  time, 
he  was  able  to  preserve  a 
brilliant  personal  type. 
His  figures  are  dignified, 
his  colour  clear  and  rich, 
and  in  the  execution  of 
his  works  he  displays  an 
ideal  refinement  (Figs.  94, 
95).  He  does  not,  how- 
ever, always  achieve 
beauty  in  his  figures,  espe- 
cially in  his  women.  On 
the  other  hand,  in  his 
landscape  and  in  his  archi- 
tectural background,  Cima  attains  to  a  high  degree  of  perfection. 
There  is  a  delicious  charm  in  the  first,  and  in  the  accurate  and  well 
drawn  buildings  of  the  second  he  scrupulously  renders  the  different 

54 


FIG.  95. — TOBIAS  WITH  THE  ANGEL  AND  SAINTS. 
(cima  da  CONEGLIANO.) 

Accademia,  Venice.     (Photo.  Alinari.) 


VENICE 


kinds  of  marble ;  this  may 
be  seen  above  all  in  the 
Presentation  of  the  Virgin 
in  the  Temple,  at  Dresden, 
a  picture  which  both  in  the 
general  scheme  and  in  the 
details  heralds  the  cele- 
brated work  of  Titian.  Nor 
should  we  neglect  to  state 
that  it  was  apparently  Cima 
who  directed  the  first  steps 
of  Sebastiano  del  Piombo  ; 
but  if  this  was  so,  it  must 
be  added  that  Sebastiano 
very  soon  applied  himself 
to    the    study,   first    of    the 


FIG.   96. — VIRGIN  AND  CHILD  WITH  SAINTS. 
(BENEDETTO  DIANA.) 

Accademia,  Venice.     (Pliolo.  Alinari.) 


1 04),  and  then  of  the  powerful 


fascinating  forms  of  Giorgione  (Fig. 
ones  of   Michelangelo. 

Giovanni  Mansueti  (1470?- 1530)  Girolamo  di  Santacroce  (d. 
1556),  Benedetto  Rusconi  or  Diana  (Fig.  96),  who  was  living  in 
1  525,  and  of  whom  mention  is  first  made 
in  1482,  and  finally  Jacopo  Bello  belong, 
on  the  other  hand,  like  Carpaccio,  to  the 
school  of  Bastiani.  Diana,  we  know, 
even  worked  in  conjunction  with  him, 
and  on  the  occasion  of  a  competition  for  a 
certain  gonfalone,^  was  preferred  to  Car- 
paccio ! 

But  the  master  who  perhaps  surpassed 
them  all  in  the  fascination  that  he  exercised 
over  a  whole  troop  of  pupils  and  in  the 
wide  field  of  his  influence  was  Giovanni 
Bellini.  We  have  already  noted  that  many 
a  painter  who  had  been  trained  in  other 
schools  did  not  escape  this  influence ;  we 
may  therefore  imagine  how  great  must  have 
been  the  number  of  his  pupils  and  followers, 
and  how  long  the  sentiment  of  his  art  must 
have  endured,  seeing  that  it  may  be  recog- 
nised, even  long  after  his  day,  in  the  works 
of  painters,  working  both  near  and  far  from 

'  A  procenioDal  banner. 

55 


FIG  97. — AN  ANGEL. 
PENN.4CCHI.) 


(p.  M. 


Accademia,  Venice. 


ART  IN  NORTHERN  ITALY 


FIG.  98.-    SAIMS.     (I.A11A,\ZIU  L)A  laillNl.) 

Mezzoldo,  near  Bergamo. 
{Photo.  Taramelli.) 


Venice,  both  famous  and  obscure 
artists,  many  of  whom  feh  the  in- 
fluence at  second  or  even  third 
hand.  Such  was  the  dominion 
exercised  by  his  school  that  it 
endured  for  half  a  century  and 
could  claim  faithful  disciples  even 
at  a  time  when  forms  of  an  ampli- 
tude and  vigour  quite  new  to  art 
held  sway  over  almost  the  whole 
of  Italy.  Among  the  older  mem- 
bers of  his  school  we  must  here 
note  Francesco  Tacconi  of  Cre- 
mona, Lattanzio  da  Rimini  (Fig. 
98),  and  Marco  Marziale  (Fig. 
99)— all  still  at  work  in  the 
first  decade  of  the  sixteenth  cen- 
tury;  Jacopo  de'  Barbari  (1470- 
1515,  Fig.  100)  and  Pier  Maria 

Pennacchi  from  the  Treviso  district  (1464-1515),  who  also  felt 

the  spell  of  Carpaccio  (Fig.  97).     Then  comes  a  second  group,  all 

the  members  of  which  were 

at  work  later  than  the  year 

I  52 1 ,  and  which  reckoned 

among  its  members  Marco 

BelU    (d.    1523),   Andrea 

PrevitaU    (d.    1525),    and 

Vincenzo  Catena  (d.  1  53 1 ), 

not   to  mention  Francesco 

Bissolo  (Fig.    105)   and 

Bartolomeo  Veneto,    both 

of   whom    lived    into    the 

second  half  of  the  cen- 
tury.    Among  those   who 

remained  the  most  faithful 

to  the  master  were  Rondl- 

nelU  (Fig.  102)  and  Bis- 
solo,    who   followed    him 

even  in  the  types  of  their 

figures,  a  strange  thing  in  the  case  of  the  latter  artist  whose  life — he 

lived  till  I  554 — was  prolonged  to  a  time  when  the  art  of  his  country 

had  assumed  a  distinctly  Baroque  character.    It  was  by  his  portraits 

56 


FIG.  99. — THE  SUPPER  AT  EMMAUS. 
(MARCO  MARZIALE.) 

Accademia,  Venice.     {Photo.  Alinari.) 


VENICE 


that  Bartolomeo  Veneto  acquired  his  fame,  as  may  be  seen  by  the 

examples  in  the  National  Gallery  of  Rome,  in  the  Melzi  d'Eril 

(Fig.    103),    and    Crespi 

Collections   at    Milan,  in 

the   Fitzwilliam    Museum 

at  Cambridge  and  in  the 

London  National  Gallery. 

Marco  Marziale   did   not 

remain  faithful  to  Bellini ; 

he  culled  impressions  from 

other  schools  of  painting, 

some   of   them    of   distant 

origin,  from  the  school  of 

Diirer  above  all.     In  like 

manner,  Diirer  and  Bellini 

influenced  in  turn  the  art 

of    Jacopo     de'    Barbari. 

Vincenzo  Catena,  Rocco 

Marconi  (Fig.  101),  An- 
drea Previtali  and,  above  all,  Pellegrino  da  San  Daniele  were  not 

deaf  to  the  inspiring  voice  of  Giorgione,  the  greatest  of  the  pupils 

of  Giovanni  Bellini.  Finally,  to 
those  who,  beginning  as  disciples  of 
Giovanni  Bellini,  became  the  ad- 
mirers and  imitators  of  Giorgione, 
we  may  add  Lorenzo  de  Luzo, 
born  at  Feltre,  who  settled  at 
Venice  in  1519,  and  died  there 
in  1 526.  A  picture  by  him  in 
the  Berlin  Museum  is  dated  I  5 1  I . 
He  must  not  be  confused  with 
Morto  da  Feltre,  nor  must  we 
perpetuate  the  error  which  has 
given  him  the  name  of  Pietro 
Luzzo. 


FIG.    lOO. VIRGIN  AND  CHILD   WITH  SAINTS. 

(jacopo  DEI  BARBARI.) 

Gallery,  Berlin.     {Photo.  Hanjslaengl.) 


TtG.   lOI. — JESUS  BETWEEN  THE 

APOSTLES  PETER  AND  ANDREW.    (rOCCO 

MARCONI.) 

Church  of  SS.  Giovanni  e  Paolo,  Venice. 
(Photo.  Alinari.) 


BIBUOGRAPHY   OF  CHAPTER  V 

Giorgio  Vasari.  Vi(e;  Michiel,  Notizie  d'opere 
di  disegno ;  Baldinucci,  Notizie  di  profaaoH  del 
disegno ;  L.anzi,  Storia  pitlorica;  Rosini,  Storia 
delta  pittura  ital.  ;  A.  Crowe  and  G.  B.  Caval- 
caselle,  A  History  of  Painting  in  North  Ital]); 
Meyer,  Allgenteines  Kiinstler-Lexicon ;  U.  Thjemc 

57 


ART  IN  NORTHERN  ITALY 


FIG.    I02. THE  MIRACLE  OF  GALLA  PI.ACIDIA. 

(nicolo  RONDINELLI.) 
Brcra,  Milan. 


and  F.  Becker,  Allgemeines   Lexicon   der  hildenden   Kiinsller:    I.    Burckhardt,   Der  Cicerone, 
Leipsic,   1904;    Morelli  Le   opere   dei  Maestri   ilaliani   and   Delia  pittura  italiana;    Berenson, 

North  Italian  Painters  of  the  Renaissance ; 
Miintz,  L'Art  de  la  Renaissance ;  Woer- 
mann,  Geschichte  der  Kunst  aller  Zeiten 
und  Volker;  Springer-Ricci,  Manuale  di 
storia  deU'arfe ;  Frizzoni,  Le  Gallerie 
dell'Accademia  Carrara  di  Bergamo', 
Ricci,  La  Pinacoteca  di  Brera ;  Fr.  Mala- 
guzzi,  Catalogo  della  Regia  Pinacoteca 
di  Brera ;  Sansovino,  Venezia ;  Moschini, 
Le  ricche  minere  etc.  \  Zanotto,  Pinacoteca 
dell'Accademia  and  Venezia  e  le  sue 
lagune  ;  Ridolfi,  Le  maraviglie  dell'arte ; 
Selvatico  and  Lazari,  Guida  artistica  di 
Venezia',  Berenson,  The  Venetian  Painters 
and  Venetian  Painting,  chiefly  before 
Titian ;  Molmenti,  La  pittura  veneziana, 
I  primi  pittori  veneziani.  La  Storia  di 
Venezia  etc.,  Venice;  Ludwig,  Archi- 
valische  Beitrdge  zur  Geschichte  der 
venezianischen  Malerei :  Lion.  Venturi, 
Pittura  veneziana;  Zimmermann,  Die 
Landschaft  in  der  venezianischen  Malerei : 
Ludwig,  Venezianische  Hausralh  zur  zeit 
der  Renaissance :  op.  cit.  ;  P.  Paoletti  and 
Ludwig,  A'eue  archivalische  Beitr'age  zur 
Geschichte  der  venelianischen  Malerei  in 
Repert  f.  Kunstw.,  1900,  173;  Giorgio 
Bernardini,  Le  Gallerie  dei  quadri  di 
Rovigo,  Treviso,  Udine,  Rome,  1 905 ; 
Pietro  d'O.  Paoletti,  Catalogo  delle  RR. 
Gallerie  di  Venezia,  Venice,  1 903  ;  Mol- 
menti, /  pittori  Bellini,  cit. ;  Paoletti,  /  Bellini  cit. ;  Gronau,  /  Bellini,  cit. ;  L.  Thuasne, 
Gentile  Bellini  et  Sultan  Mohamed  II,  Paris,   1888;  Carlo  Ridolfi,    Vita   di   Giovanni  Bellini, 

Venice,  1 83 1 ;  Roger  E.  Fry,  Giovanni  Bellini, 
London,  1 899 ;  A.  Luzio,  Disegni  lopografici 
e  pitture  dei  Bellini  in  A  rchivio  storico  dell'arte, 
1888,  276;  B.  Berenson,  The  Study  and 
Criticism  of  Italian  Art,  1901  ;  Gustav  Ludwig 
in  Italienische  Forschungen  herausgegeben  vom 
Kunsthistorischen  Institut  in  Florenz,  Berlin, 
1906,  221  ;  Gustav  Ludwig,  Giovanni  Bellini's 
sogenannte  Madonna  am  See  in  den  Uffizien, 
eine  religiose  allegoric  in  Jahrbuch  d.  k-  Pr. 
Kunstsammlungen,  Berlin,  1902;  M.  de  Mas- 
latrie  and  E.  Galichon,  Jacopo,  Gentile  et 
Giovanni  Bellini,  documents  inedits  in  Gazette 
des  Beaux  Arts,  I,  xx,  281  ;  M.  de  Maslatrie, 
Testament  de  Gentile  Bellini  in  Gaz.  d.  Beaux 
Arts,  I,  xxi,  286;  S.  Colvin,  Gentile  Bellinis 
Skizze  fur  ein  Gem'alde  im  Dogenpalast  zu 
Venedig  in  Jahrbuch  der  K'onigl.  Preuss. 
Kunstsamml.,  xiii,  23  :  H.  von  Tschudi,  Die 
Pietd  des  Giovanni  Bellini  im  Berliner  Museum 
m  Jahrb.  d.  KSnigl.  Preuss.  Kunstsamml.,  xii, 
219;  Ludwig  and  Bode,  Die  A  Itarbilder  der 
Kirche  S.  Michele  di  Murano  und  das  Aufer- 
stehungsbild  des  Giovanni  Bellini  in  Jahrb.  d. 
Kbnigl.  Preuss.  Kunstsamml,  1903,  131  ;  O. 
Occioni,  Marco  Basaiti,  Venice,  1 868 ;  G. 
Gronau,  Ueber  Basaiti  und  Pseudo  Basaiti  in 
Sitzungsberichl  vi,  1900,  der  Berliner  Kunst- 
geschichtlichen  Gesellschaft;  E.  Galichon,  Qiro- 
lamo  Mocefto  peintre  et  grccveur  vinitien, 
Paris,  1859:  V.  Botteon  and  Aliprandi,  G. 
B.  Cima,  Conegliano,  1 803 ;  Rudolf  Burck- 
A>  1  r.-  •  »r.  I  r.  .  ,.  .  ■  „  hald,  Cima  da  Conegliano,  Leipsic.  1905; 
Corrado  Rica,  Nicolo  Rondinelli  m  the  Galleria  di  Ravenna,  Ravenna,  1898  ;  Corrado  Ricd, 
Filippo  Mazzola  e  Cristoforo  Caselli  in  the  R.    Galleria  di  Parma,  Parma,    1896;    Corrado 

5S 


riG.  103. — THE  goldsmith's  daughter, 
(bartolomeo  veneto.) 
Casa  Melzi  d'  Eril,  Milan. 


VENICE 


Ricd,  Filippo  MazzoU  in  the  Napoli  Nobil- 
issima,  vii,  Naples,  1 888 ;  Andrea  Moschetri, 
//  maestro  di  Filippo  Mazzola,  Padua,  1^08; 
G.  A.  Moschini,  Memorie  della  Vita  d'Antonio 
Solaria  delta  Zingaro,  Venice,  1 828 ;  F.  N. 
Faraglia,  /  dipinii  a  fresco  nell'alrio  del 
Platano  in  S.  Severina  in  the  Napoli  Nobil- 
issima,  v  and  vi,  Naples,  1896-1897  ;  Bene- 
detto Croce,  Antonio  da  Solaria  autore  degli 
affreschi  nell'atrio  di  S.  Severina  in  the  Napoli 
Nobilissima,  vi,  Naples,  1897,;  Ettore  ModigUani 
Antonio  da  Solaria  Veneta  delta  lo  Zingaro 
in  the  Bolletlino  d'Arte,  Rome,  1907,  also  for 
the  rest  of  the  bibliography  of  Solario ;  Ad. 
Venturi,  Bartalameo  Veneta  in  Arte,  Rome, 
1899,  and  in  the  Galleria  Crespi;  E.  Galichon, 
Jacopa  de'  Barbari  in  Gazette  des  Beaux  Arts, 
I ,  xi,  311;  Carlo  Ephrussi,  Notes  biographiques 
sur  Jacopa  de'  Barbari,  Paris,  1876;  C. 
Ephrussi,  jacopa  de'  Barbari,  Notes  et  docu- 
ments nouveaux  in  Gaz.  d.  Beaux  Arts,  2,  xiii, 
363 ;  E.  Galichon,  Quelgues  nates  nouvelles  sur 
].  de  Barbaris  in  Gaz.  des  Beaux  Arts,  2,  viii, 
223 ;  Handcke,  Durer's  Beziehungen  zu  J. 
de'  Barbari,  Pallaiuala  und  Bellini  in  Jahrb. 
de  Konigl.  Preuss.  Kunstsamml.,  xix,  161  ;  L. 
Cust,  Jacopa  de'  Barbari  und  Lucas  Cranach 
d.  J.  in  Jahrbuch  d.  KOniglich  Preuss.  Kunst- 
samml., xiii,  142;  G.  Fogolari,  Le  portelle 
dell'  argano  di  S.  Maria  del  Miracoli  a  Venezia 
in  Batlettino  d'Arte  del  Ministera  della  P. 
Istruzione,    April-May,     1 908 ;     Justi,     Jacopa 

de'  Barbari  und  Albrecht  Durer  in  Repert.  f.  Kunstw.,  1898,  346,  349;  P.  Molmenti,  // 
Morta  da  Feltre  in  the  Marzocco  of  Jan.  27,  1910;  Rodolfo  Protti,  //  Marto  da  Feltre  in 
the  Emporium  for  Aug.,  1910. 


FIG.    104. S.   CHRYSOSTOM  AND  OTHER 

SAINTS.       (SEBASTIANO  DEL  PIOMBO.) 

Church  of  S.  Crisostomo,  Venice. 
{Photo.  Alinari.) 


FIG.   105. — THE  PRESENTATION.      (f.  BISSOLO.) 

Accademia,  Venice. 


59 


FIG.   I06. THE    FEAST    IN    THE    HOUSE    OF    LEVI.       (P.    VERONESE.) 

Accademia,  Venice.     (Photo.  Alinari.) 


CHAPTER  VI 

VENICE 

The  Painting  of  the  Sixteenth  Century  from  Giorqone 
TO  Jacopo  Tintoretto 

Giorrione. — Palma  Vecchio. —  The  Venelian  T'spe. —  Titian. — Disciples  of  Palma  Vecchio. — 
Bonifazio. — Cariani. — Lotto. — Pordeuone. —  The  Bassani, — Paolo  Veronese. —  Tintoretto. 

The  details  of  Giorgione's  life,  work,  and  artistic  personality  have 
not  so  far  been  very  clearly  established,  but  they  are  not  so  uncertain 
as  to  justify  the  rhetorical  phrase  "he  is  little  better  than  a  myth." 

It  is  known  that  he  was  born  at  Castelfranco,  perhaps  about  the 
year  1478,  and  that  he  died  of  the  plague  in  Venice  in  1510. 
Certain  works  may  be  definitely  attributed  to  him,  such  as  the  altar- 
piece  of  Castelfranco,  the  Ordeal  h^  Fire  at  Florence,  The  Three 
Philosophers  at  Vienna  and  the  Storm  of  the  Casa  Giovanelli 
(Fig.  1 07)  ;  we  have  documents  relating  to  other  pictures ;  we  can 
see  how  he  detached  himself  from  Giovanni  Bellini  and  became 
the  artistic  father  of  Titian.  In  the  case  of  other  painters,  this 
would  suffice ;  but  the  greatness  of  the  man  stirs  our  curiosity,  and 
this  explains  the  phrase  quoted  above.  Giorgione  may  be  compared 
to  Masaccio — in  his  case,  too,  a  short  life  and  a  scanty  series  of 
works  sufficed  to  bring  about  a  sudden  change  in  the  art  of  painting. 

Like  other  artists  of  his  day  he  loved  a  life  of  pleasure  and  the 
sound  of  music.  "  Although  he  was  by  birth  of  humble  origin, 
yet  all  his  life  through  he  was  without  exception  courteous  and  of 
honest  commerce.     He  was  brought  up  in  Venice,  and  he  ever  found 

60 


VENICE 


delight  in  amorous  pursuits ;  so  much  was  he  enamoured  of  the 
sound  of  the  lute,  and  in  his  day  he  played  and  sang  so  divinely  that 
he  was  often  in  request  for  musical  parties  and  assemblages  of  people 
of  noble  birth.  "  Thus  writes  Vasari,  who,  with  much  simplicity, 
precision,  and  elegance,  goes  on  to  say :  "  He  was  endowed  by 
nature  with  such  a  happy  spirit  that,  in  oil  and  in  fresco,  he  pro- 
duced renderings  of  life  and  other  things  of  such  charm,  so  blended 
together  and  graduated  in  the  shadows  that  it  came  about  that  many 
of  those  who  were  then  reckoned  excellent  painters  confessed  that 
he  was  born  to  put  life  into  his  figures  and  to  counterfeit  the  fresh- 
ness of  living  flesh  in  a  way  approached  by  no  one  else,  not  only  in 
Venice  but  in  any  land."  

To  the  high  technical  quality 
of  his  work — the  glowing  colour 
and  the  magic  tone — and  to  his 
refined  feeling  for  beauty,  Gior- 
gione  added  a  marvellous  versa- 
tility, which  enabled  him  to 
execute  portraits  and  land- 
scapes, sacred,  mythological, 
and  allegorical  pictures,  as  well 
as  historical  and  genre  subjects, 
with  equal  novelty  and  success  ; 
the  whole  ennobled  by  a  high 
poetical  afflatus.  This  is  indeed 
the  supreme  merit  of  his  work, 
and  this  it  is  that  provides  a 
source  of  delight  not  for  the 
eye  only,  but  for  the  soul  of 
the  spectator. 

The  composition  of  the  picture  at  Castelfranco  (Fig.  1 08),  is  still 
simple ;  but  there  is  already  a  greater  nobility  in  the  figures,  and  the 
landscape  plays  an  important  part,  not  only  spacially,  but  in  the 
sentiment  of  the  work.  The  Virgin  seated  on  a  lofty  throne,  set 
against  the  sky,  is  one  of  the  most  lovely  creations  of  Italian  art  for 
serenify,  for  sweetness,  and  for  beauty  of  line. 

To  this  new  birth  of  Venetian  painting,  when  once  it  had  found 
this  triumphant  route,  two  other  great  artists  immediately  contrib- 
uted : — Jacopo  Palma  the  elder,  and  Tiziano  Vecellio,  both,  like 
Giorgione,  natives  of  the  mainland  and  painters  of  magnificent 
landscape,  who  loved  to  work  in  the  open  and  saw  all  objects 
and  bodies  bathed  in  air  and  light.     An  artist  who  strove  towards 

61 


FIG.    107. — THE  STORM. 

Giovanelli  Gallery,  \'enice. 


(giorgione.) 
(Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


the  same  goal  by  different  means  was  Sebastiano  Lucianl  (1485- 
1  547),  called  towards  the  end  of  his  life  del  Piombo  (of  the  Seal), 
from  the  office  he  held  at  the  Papal  Court.  He  would  perhaps 
have  become  the  greatest  among  the  heirs  of  Giorgione,  if  his 
fortunes  had  not  led  him  too  soon  to  Rome,  where  he  was  enthralled 
by  the  grandeur  of  Michelangelo.  Hence  his  pictures  in  the 
Venetian  manner  are  few  in  number ;  the  most  interesting  is  that  in 
S.   Giovanni   Crisostomo   at  Venice   (Fig.    104).     At   Rome    he 

attained  to  an  imposing  grandeur 
of  composition  and  a  dramatic 
vigour  of  sentiment,  but  he  lost 
the  vivacity  of  Venetian  colour 
in  his  preoccupation  with  light 
and  shade. 

Jacopo  Negretti,  who  was 
born  at  Serinalta  in  the  district 
of  Bergamo  about  the  year  1 480, 
is  generally  known  as  Palma 
Vecchio  to  distinguish  him  from 
his  grand-nephew  of  the  same 
name.  He  had  not  the  supreme 
genius  of  Giorgione,  but  his  lumi- 
nosity and  the  grandeur  of  his 
forms  are  truly  admirable  (Fig. 
1 09).  He,  too,  was  of  the  school 
of  Giovanni  Bellini,  but  he  soon 
adopted  a  less  formal  composition, 
marked  by  great  variety  of  sub- 
ject, and  warm  and  powerful 
colour.  His  pictures  are  scattered 
throughout  Europe,  but  the  most 
famous  and  most  typical,  the  Santa  Barbara  (Fig.  110)  is  still 
preserved  in  the  church  of  S.  Maria  Formosa  in  Venice.  In  this 
work  the  type  of  Venetian  female  beauty  is  finally  attained. 
The  sun-warmed  flesh,  the  voluptuous  splendour  of  the  velvety 
eyes,  the  robust  vigour  of  this  type  became  the  feminine  ideal  of 
Venetian  painting,  showing  that  from  the  beginning  this  art  possessed 
that  fund  of  health  which  prolonged  its  life  through  the  course  of 
several  centuries. 

It  is,  indeed,  no  longer  a  saint  that  we  see,  but  a  magnificent 
woman  who  has  grown  to  maturity  among  the  splendours  of  Venice 
— a  woman  who  desires  to  love  and  to  be  loved. 

62 


i-  - 

rig.  i08. — virgin  and  child  with  saints. 

(giorgione.) 

Church  of  Castelfranco,  Venetia. 

(Pholo.  Alinari.) 


VENICE 


FIG.   lOg. — CHRIST  AND  THE  CANAANITISH  WOMAN. 
(PALMA  VECCHIO.) 

Accademia,  Venice.     {Pholo.  Alinari.) 


In  no  other  coun- 
try has  there  ever 
existed  an  art  that 
can  boast  of  a  greater 
weahh  of  blooming 
types,  or  of  greater 
magnificence  in 
colour,  draperies, 
and  ornaments. 

The  blonde,  ripe 
beauty  of  the  Vene- 
tian ladies  gave  the 
painters  of  the  day 
a  spectacle  of  sov- 
ereign loveliness  and 
unprecedented  luxury ;  they  in  return  portrayed  them  in  their 
immortal  v^orks,  and  assured  them  an  eternity  of  admiration. 

Among  the  crowds  that  filled  the  public  places  and  the  canals 
the  artists  of  the  day  w^andered  in  turn :  the  Bellini,  Antonello  da 
Messina,  Bastiani,  Carpaccio,  Mansueti,  the 
Vivarini,  Crivelli,  Gian  Battista  Cima ;  then 
Jacopo  Palma,  Giorgione,  Lorenzo  Lotto, 
Sebastiano  del  Piombo,  already  captured  by 
the  new  forms  of  art,  Titian,  Tintoretto,  Paris 
Bordone,  Bonifazio,  Paolo  Veronese,  and  a 
hundred  more.  It  was  thus  that  their  hearts 
and  their  minds  drew  vigour  from  the  field  of 
life.  The  whole  body  politic  combined  to 
fuse  aesthetic  elements  into  an  artistic  type, 
from  the  young  cavalier  with  his  garments 
sprucely  adapted  to  his  figure,  to  the  austere 
senator  wrapped  in  the  ample  folds  of  his 
richly  coloured  toga ;  from  the  sumptuous 
dame  for  whose  adornment  whole  patrimonies 
were  squandered,  to  the  woman  of  the  people 
faithful  to  the  traditional  costume.  And 
moving  among  these  there  were  Moors  bought 
in  Africa,  Circassian  slave-girls — to  own  one 
of  these  was  the  ambition  of  every  great 
lady — Turks  with   heavy  turbans,   and   Per-      fio  no— s.  barbara. 

.  •    1  11  1  1  I        •  (palma   VECCHIO.) 

sians  with  tall  caps  who  came  to  barter  their  churchofs.  Maria  Formosa, 
goods ;   Africans  who  sold  drugs  and  strange     Vcnkc.  {Photo.  AHnari.) 

63 


ART  IN  NORTHERN  ITALY 


no.   III. — THE  CONCERT.      (giORGIONE  OR  TITIAN.) 

Pitti  Gallery,  Florence.     {Photo.  Alinari.) 


animals  from  foreign  parts,  Flemings  and  Hungarians  ready  to  sing 
and  to  play  the  rhapsodies  of  their  native  land. 

Indeed,  this  populace  of  sailors  and  soldiers  created  marvels 
which,  had  w^e  read  of  them  in  poems  of  unbridled  fantasy  or 

in  the  "  Arabian  Nights," 
w^ould  have  seemed  the 
outcome  of  a  splendid  but 
baseless  imagination  or  a 
magnificent  dream. 

And  if,  even  to-day,  the 
eye,  however  greedy  for 
beauty,  for  light,  for  colour, 
has  no  need  to  ask  for  more, 
think  what  the  city  must 
have  appeared  to  Bellini, 
to  Titian,  to  Paolo  !  There 
these  great  artists  gathered 
up  their  impressions  with 
an  uninterrupted  but  often 
unconscious  industry,  and 
in  the  wide  field  covered 
by  their  work  reproduced  the  life  of  their  day,  potent  recorders  of 
a  world  fated  to  disappear  in  weakness  and  indifference. 

Of  all  these  men  Titian  was  the  most  complete ;  he  it  was  who 
concentrated  the  multiple  pictorial  gifts  of  the  Venetian  school ;  he 
made  himself  the  interpreter  of  a  greater  total  of  emotions  than  any 
of  his  predecessors,  and  justly  earned  the  title  of  "  the  universal 
confidant  of  nature."  Titian  was  born  at  Pieve  di  Cadore,  between 
the  years  1477  and  1480,  and  died  on  the  26th  of  August,  1576  ; 
he  therefore  lived,  working  almost  continuously,  for  nearly  a 
century.  His  feeling  for  truth  and  beauty,  his  love  for  his  art, 
and  his  extraordinary  facility  of  execution,  combined  to  produce  one 
of  the  most  prodigious  artists  the  world  has  seen. 

Of  him  it  has  been  excellently  said  that,  while  on  the  one  hand 
he  combined  the  qualities  of  Giovanni  Bellini,  Giorgione,  and 
Jacopo  Palma,  on  the  other  he  prepared  the  way  for  Tintoretto, 
Paolo,  and  Tiepolo.  That  is  to  say,  that  while  he  inherited  the 
progress  of  the  previous  half  century,  the  influence  of  his  art  was 
felt  up  to  the  last  hours  of  Venetian  painting.  Whether  dealing 
with  sacred  or  profane  subjects  his  work  was  equally  marvellous ; 
as  a  landscape  painter  he  was  an  innovator,  as  a  portraitist  he  was 
unsurpassed  (Fig.  114);  in  all  that  he  did  there  was  something  new 

64 


VENICE 

and  the  mark  of  an  absolutely  distinct  personality.  The  super- 
lative characteristic  of  Titian  is  the  harmony,  the  divine  enchantment, 
he  gives  to  all  his  creations.  Things  that  in  reality  were  fragmentary, 
detached,  and  circumscribed,  he,  on  his  canvas,  brings  together, 
completes,  and  endow^s  w^ith  the  felicity  of  perfection.  His  genius 
tended,  above  all,  to  simplification.  We  note  with  amazement  the 
synthetic  simplicity  to  which  he  reduces  everything.  Thus  it  is  that 
nothing  presents  any  difficulty  to  him.  Whether  it  be  a  worldly  or 
a  celestial  vision,  an  ideal  of  beauty,  or,  again,  a  robust  and  typical 
actuality,  he  is  prepared  to  deal  with  them  all,  and  the  striking 
contrasts  thus  created  are  brought  into  harmony  by  the  fascinating 
potency  of  his  art. 

He  began  by  painting  with  broad  masses  of  colour  juxtaposed, 
but  afterwards  he  took  to  a  more  vigorous  method,  piling  one  colour 


FIG.  112. — SACRED  AND  PROFANE  LOVE.     (TITIAN.)    Borghesc  Gallery,  Rome. 

above  the  other  and  fusing  them  by  means  of  **  touches,  blows,  and 
strokes"  of  the  brush,  or  at  times,  as  Palma  Giovane  relates,  of  the 
fingers. 

During  his  first  period  Titian's  method  was  in  complete  conformity 
with  that  of  Giorgione.  We  have  proof  of  this  in  the  fact  that 
with  regard  to  one  or  two  pictures,  we  are  in  doubt  to  which  of  the 
two  artists  the  work  is  to  be  attributed.  In  the  case  of  the  celebrated 
**  Concert"  in  the  Pitti  (Fig.  1  1  1 ),  no  definitive  agreement  has  been 
arrived  at.  This  is  a  work  which,  although  distinctly  a  genre  piece, 
soars  to  lyrical  heights  by  the  profundity  or  rather  the  intensity  of 
the  sentiment.  The  man  who  is  seated  at  the  harpsichord,  as  he 
moves  his  fingers  over  the  keys,  draws  from  the  chords  the  notes 
and  the  harmonies  that  are  sounding  in  his  soul.  He  is  absorbed 
in  the  music  and  is  wandering  through  the  realms  of  infinity,  when 

65  F 


ART  IN  NORTHERN  ITALY 


FIG.  113. — ASStJMPTION  OF  THE 
VIRGIN.       (TITIAN.) 

Accademia,  Venice. 
{Photo.  Alinari.) 


Calnted  for  the  church 
oth  in  composition  and  in  exe- 
cution. The  Apostles  who  stand 
below  are  thrown  forward  by 
the  pure  force  of  the  colour, 
while  the  semi-garland  of  angels 
takes  its  place  in  a  second  plane 
by  virtue  of  a  vaporous  tint,  a 
chromatic  perspective.  As  for 
the  sentiment  of  the  work,  we 
have  no  longer  the  quiet  and 
peaceful  contemplation  of  the 
earlier  "  Glories,"  for  every  figure 
here  gives  proof  of  life  in  various 
ways  ;  one  is  wrapped  in  wonder, 
another  cries  out,  another  is  talk- 
ing, others  beckon  or  sing  or 
play  on  an  instrument  or  pray. 
The  picture,  at  first,  did  not  give 
satisfaction  either  to  the  friars  or 


he  is  accosted  by  the  monk  with  the 
viola,  who  warns  him  that  the  time  is 
come  for  them  to  play  together.  He 
snatches  the  other  from  the  sweet  dreams 
in  which  he  is  wrapped  with  regret,  and 
places  his  hand  upon  his  shoulder  with  a 
hesitating  gesture.  The  player  turns  round 
with  an  unconscious  movement,  and  gazes 
with  shining  eyes  at  his  friend,  but  in 
thought  he  seems  still  to  follow  the  har- 
monies that  pour  forth  from  the  instru- 
ment. 

As  belonging  to  the  Giorgionesque 
period,  among  many  other  works,  we 
may  mention  the  Sacred  and  Profane 
Love  in  the  Borghese  Gallery  (Fig.  1  1 2), 
and  the  Jacopo  Pesaro  in  Prayer  before 
St.  Peter  in  the  Gallery  at  Antwerp. 
We  must  then  pass  on  to  point  out  that 
a  new  development  of  his  art  began  with 
the  gigantic  Assumption  (Fig.  113) 
which,  at  the  age  of  about  forty,  he 
of    the    Frari.     Here    we    find    novelties 


FIG.    114. — PORTRAIT  OF  AN   UNKNOWN  MAN. 
(TITIAN.) 

Pitti  Gallery,  Florence.     {Photo.  Alinari.) 


66 


PORTRAIT  OF  A  LADY  {KNOWN  AS  LA  BELLA  Dl  TIZIANO) 

Titian 
(Pitti  Gallery,  Florence) 


ART  IN  NORTHERN  ITALY 


fiG.  113. — ^ASstmnmoN  of  the 

VIRGIN.      (TITIAN.) 

Accademia,  Venice. 
(Photo.  AUncri.) 


he  is  accosted  by  the  monk  with  the 
viola,  who  warns  him  that  the  time  is 
come  for  them  to  play  together.  He 
snatches  the  other  from  the  sweet  dreams 
in  which  he  is  wrapped  with  regret,  and 
places  his  hand  upon  his  shoulder  with  a 
hesitating  gesture.  The  player  turns  round 
with  an  unconscious  movement,  and  gazes 
with  shining  eyes  at  his  friend,  but  in 
thought  he  seems  still  to  follow  the  har- 
monies that  pour  forth  from  the  instru- 
ment. 

As  belonging  to  the  Giorgionesque 
>V\K\!^\t]]\Q  ^oUaal.KlAkn^gi'HQWi^  Hflbel  IwBCks'nK'nE^^O' 
may  mention  nAs  Sacred  and  Profane 
Love  in(iiMJ$b;«lfa§fei@fillery  (Fig.  1 12), 
and  the  Jacopo  Pesaro  in  Prayer  before 
St.  Peter  in  the  Gallery  at  Antv/erp. 
We  must  then  pass  on  to  point  out  that 
a  new  development  of  his  art  began  with 
the  gigantic  Assumption  (Fig.  113) 
which,  at  the  age  of  about  forty,  he 
painted  for  the  church  of  the  Frari.  Here  we  find  novelties 
both  in  composition  and  in  exe- 
cution. The  Apostles  who  stand 
below  are  thrown  forward  by 
tlir    OMf."    forte    of    lh«"    '■olcHjr. 


■  ,  a 
...    for 
le  work,   we 
he    quiet   and 
.  lion    of    the 
<  ry  figure  • 
n  various 
way  a  wonder, 

anoth  ler  is  talk- 

ing,   olh'  n    or    sing   or 

play  on  nent  or  pray. 

The  pictu  '.  did  not  give     *^"' 

satisfaction  >  the  friars  or      Pitt 

66 


KHOWN  MAN. 

■  -     ♦  linari. ) 


VENICE 


SiSt 


FIG.    115. — DIVES  AND  LAZARUS.       (BONIFAZIO  VERONESE.) 

Accademia,  Venice.     {Pholo.  Alinari.) 


to  the  faithful  generally.  So  we  are  told  by  Lodovico  Dolce,  and 
we  can  well  understand  the  cause ;  it  was  too  violent  and  too  unex- 
pected a  departure 
from  traditional 
treatment.  Titian 
suffered  the  fate  of 
all  innovators.  The 
average  man  is  un- 
willing to  recognise 
or  to  confess  that 
he  fails  to  under- 
stand a  work  that 
soars  above  the 
common.  He  pro- 
tests against  those 
who  are  not  content  to  remain  at  his  intellectual  level ;  it  is  only 
when,  after  much  labour,  the  new  ideas  have  overcome  the  general 
reluctance  to  accept  new  forms  that  he  is  disposed  to  proclaim 
their  excellence. 

With  Titian,  indeed,  the  art  of  Venice  took  on  a  definite  character. 
In  after  days  we  shall  find  markedly  personal  notes  in  the  works  of 
Tintoretto,  of  Paolo  Veronese,  and  others  down  to  the  time   of 

Tiepolo.  But  the  forms, 
the  composition,  the  tech- 
nique, the  method,  all  pro- 
ceed from  him,  just  as  was 
the  case  with  the  Italian 
opera,  which,  when  fixed 
once  for  all  by  Gioacchino 
Rossini,  remained  substan- 
tially as  he  conceived  it  in 
spite  of  the  phases  that  it 
assumed  in  the  hands  of 
Vincenzo  Bellini,  of  Gae- 
tano  Donizetti,  and  of 
Giuseppe  Verdi. 

Bonifazio  Veronese,  Ca- 
riani,  and  Lotto  were  pupils 
or  followers  for  the  most 
part  of  Pal  ma  Vecchio. 
Bonifazio  dei  Pitati  was  born  in  Verona  in  the  year  1 487 ;    at 
the  early  age  of  eighteen  he  betook  himself  to  Venice.     There  he 

67  f2 


FIG.   116. — THE  FINDING  OF  THE  CROSS. 
(G.  CARIANI.) 

Accademia  Carrara,  Bergamo.     {Photo.  Alinari.') 


ART  IN  NORTHERN  ITALY 


FIG.   117. — VIRGIN  AND  SAINTS.      (LORENZO 
LOTTO.) 

Church  of  S.  Bernardino,  Bergamo. 
{Photo.  Alinari.) 


married  the  niece  of  Antonio 
Palma,  his  collaborator  in  more 
than  one  picture,  who  was  born 
at  Serinalta  about  1514  and 
died  in  Venice  after  1575. 
While  in  Venice  Antonio  for 
many  years  worked  together 
with  a  certain  Battista  di 
Giacomo. 

The  mediocre  works  of  these 
and  other  second-rate  artists 
have  been  attributed  to  Boni- 
fazio  II  and  Bonifazio  III, 
imaginary  names  which  have, 
however,  served  to  group  to- 
gether a  large  class  of  pictures 
based  on  the  art  of  Bonifazio 
dei  Pitati. 

To  return  to  Pitati :  we  must 
recognise  in  him  an  abundant  and 
fervid  feeling  for  composition ;  he  was  one  of  the  gayest  and  most 
brilliant  colourists  of  the  whole  glorious  school  and  an  incomparable 
chronicler  of  the  Venetian  life  of  the  day,  the  biblical  episodes  that 
he  made  the  subjects  of  his  pic- 
tures being  merely  pretexts  for 
the  rendering  of  this  life.  In  the 
Finding  of  Moses  in  the  Brera 
we  have  a  joyous  party  of  ladies, 
cavaliers,  singers,  pages,  and  buf- 
foons, assembled  in  the  country 
on  a  line  September  day.  In  the 
Parable  of  Dives  and  Lazarus 
(Fig.  I  1  5),  we  are  introduced  to 
the  villa  of  a  haughty  patrician 
of  Venice  who  is  idling  among 
courtesans  and  musicians. 

The  work  of  Giovanni  Busi, 
called  Cariani,  who  came  from 
Fuipiano  in  the  Bergamo  country 
(1480?-)  550?),  is  less  distin- 
guished and  less  sumptuous,  al- 
though   pleasant    rosy    tints    pre- 

68 


3.    118. — PORTRAIT  OF  A  GENTLEMAN. 
(LORENZO  LOTTO.) 

Brera,  Milan.     (Photo.  Alinari.) 


VENICE 


FiG.    119. PORTRAIT  OF  G.   B.  DA  CARAVACiuiU. 

(g.  CARIANI.) 
Accademia,  Carrara,  Bergamo.     {Photo.  Alinari.) 


dominate  in  his  works  (Fig.  116).     He  assisted  Palma  in  many  of 
his  tasks,  and  he  finished  the  Adoration  of  the  Magi,  now  in  the 
Brera.    In  his  portraits  (Fig. 
119),  he  attained  to  a  no- 
bility which  we  do  not  find 
in  his  sacred  subjects. 

We  must  give  a  higher 
place  to  Lorenzo  Lotto,  his 
contemporary,  who  was 
born  in  Venice  ( 1 480  ?- 
1 556),  not,  as  was  long 
supposed,  at  Bergamo  or 
Treviso.  Lotto  was  at  first 
a  follower  of  Alvise  Viva- 
rini,  but  later  on,  being 
brought  into  contact  with 
the  work  of  Giorgione  and 
Palma  Vecchio,  he  ampli- 
fied his  style.  He  did  not, 
however,  sacrifice  a  delight- 
ful individuality  which  he 
owed  to  the  brilliancy  of 
his  vibrating  colour ;  this  was  all  his  own,  though  it  may  show 
some  fortuitous  likeness  to  that  of  Correggio.  He  had  a  habit, 
not  always  a  happy  one,  of  arranging  his  figures  in  oblique  lines, 
but  we  can  never  weary  of  the  felicitous  intensity  of  expression 
which  breathes  the  sweet,  kindly  and  devout  spirit  of  the  artist. 
Frescoes  by  him  are  to  be  found  at  Trescore  Balneario,  in  the 
oratory  of  the  Conti  Suardi,  and  again,  on  either  side  of  the  Onigo 
monument  in  the  Church  of  St.  Nicolas  at  Treviso.  His  pictures 
are  scattered  throughout  Europe ;  they  are,  however,  most 
numerous  at  Bergamo  (Fig.  1  1  7),  and  in  the  Marches,  where  he 
lived  for  many  years,  and  where  he  died  (at  Loreto)  in  1  556.  Given 
to  prayer  and  to  the  solitude  of  the  cloister,  the  work  that  he  has  left 
us  is  confined  to  pictures  of  sacred  subjects,  instinct  with  ascetic 
melancholy,  and  to  portraits,  some  full  of  a  sweet  domestic  feeling, 
others,  again,  notable  for  their  austerity,  as,  for  instance,  the  Bishop 
Bernardo  de'  Rossi  in  the  Museum  at  Naples  and  the  Man  with 
the  Red  Beard  (Fig.  118),  in  the  Brera,  works  of  the  highest 
order.  He  has  left  us  no  records  of  the  dissipated,  gay,  or  luxurious 
life  of  his  fellow  citizens,  and  in  this  respect,  too,  he  may  be  noted 
as  a  solitary  exception. 

69 


ART  IN  NORTHERN  ITALY 


Far  otherwise  was  it  with  Paris  Bordone  of  Treviso  (1 500-1 571), 
a  copious  and  unequal  painter  who  passed  through  the  school  of 
Titian,  but  whose  temperament  inclined  rather  to  the  art  of 
Giorgione  and  of  Palma.  He  has  treated  a  hundred  different 
subjects  with  brilliant  versatility  but  without  much  depth  of  feeling, 
and  was  content  with  superficial  effects. 

In  his  colour  he  is  strong,  but  occasionally  harsh ;  his  drawing  is 
courageous,  but  at  times  incorrect.     In  his  drapery  he  carried  his 

love  for  crumpled  folds  so 
far  as  to  degenerate  into 
mannerism.  Nevertheless, 
he  flashed  out  at  times  as 
a  great  painter,  in  his  por- 
traits and,  above  all,  in  his 
great  canvas  in  the  Gallery 
at  Venice  (Fig.  1 20),  which 
is  his  masterpiece,  and  one 
of  the  most  interesting  works 
in  the  whole  range  of 
Venetian  art.  It  represents 
the  gondolier  delivering  to 
the  Doge  the  ring  that  he 
had  received  from  St.  Mark. 
The  Apostle  had  appeared 
to  him  at  night  time,  and 
had  insisted  upon  being 
carried  out  to  sea  in  com- 
pany with  two  other  saints 
to  encounter  a  ship  full 
of  threatening  demons.  As 
will  be  seen,  the  picture  has 
the  singular  merit  of  a  new 
subject.  Neither  the  number  and  the  varied  character  of  the  figures 
introduced,  nor  the  splendour  of  the  vestments  and  of  the  archi- 
tecture, in  any  way  distract  attention  from  the  two  central  figures 
who  play  the  principal  part  in  the  episode.  In  fine,  in  the  light 
and  the  colour,  we  have  an  approximation  to  the  handling  of  Titian. 
Giovanni  Antonio  de'  Corticelli,  known  as  Pordenone  (1483- 
I  530),  was  a  man  of  austere  and  imposing  spirit ;  his  paintings  speak 
to  us  rather  of  a  violence  of  character  that  did  not  hesitate  at  blood- 
shed, than  of  the  affability  and  courtesy  for  which  he  is  praised  by 
Vasari.     The  energy  of  his  nature  is  manifested  even  more  strongly 

70 


FIG.   I20. — THE  RING  OF  S.  MARK  HANDED  TO  THE 
DOGE.      (PARIS  BORDONE.) 

Accademia,  Venice. 


VENICE 


FIG.  121. — VIRGIN  AND  SAINTS. 
(O.   SAVOLDO.) 

Brera,  Milan.     (Photo.  Alinari.) 


in  his  frescoes  than  in  his  pictures ;   we  have  admirable  examples 

of  the  former  in  the  Church  of   the  Madonna  di  Campagna  at 

Piacenza,  at   Pordenone,  at  Cremona, 

and    where    they    are    less    generally 

known,  at  Cortemaggiore.     Pordenone 

was  a  pupil  of  Alvise  Vivarini,  and  his 

talent  ripened  in  the  warm  atmosphere 

of  Giorgione  and  of  Titian.     He  in  his 

turn  taught  and  influenced  some  other 

painters.     Among  these  we  may  men- 
tion Bernardino  Licinio  (at  work  1511- 

1 549),  whose  family  came  from  Bergamo, 

a  painter  who  found  greater  attractions 

in  genre  subjects  and  in  portrait  painting 

(Fig.  122)  than  in  sacred  art. 

The     Brescian     painter,     Girolamo 

Savoldo  (1 480  ?-l  550  ?)  takes  his  place 

between  the  old  and  the  new  schools  of 

Venice.      From    the  new  school  (from 

Giorgione,  Palma  and  Lotto)  he  derived 

the  vigour  of    his    colour    and    of    his 

modelling ;    from    the   old  (from    Bon- 

signori  and  Bellini)  composure  and  simplicity,  qualities  which  are 

both  nowhere  better  exemplified  than  in  the  great  altar-piece  in 

the  Brera  (Fig.  121). 
Andrea  Meldolla,  on  the 
other  hand,  called  Schi- 
avone  (the  Sclavonian) 
from  his  birth  at  Sebenico 
(1522-1582),  took  an  op- 
posite course,  passing  from 
the  vigorous  style  of  Gior- 
gione and  of  Titian,  to  the 
minute  prettiness  of  Par- 
migianino. 

The  family  of  the  Da 
Ponte,    like    that    of    the 
Bellini,   the  Carracci  and 
the  Nasocchi,  came  origin- 
ally from  Bassano,  a  town  fruitful  in  painters.     Thence  they  took 

the  name  by  which  they  are  generally  known. 
The  first  was  Francesco  (1470?-1540) ;   but  he  belongs  to  the 

71 


FIG.  122. — HIS  brother's  family,     (b.  licinio.) 
Borghese  Gallery,  Rome.     (Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


FIG.   123. — THE  PAINTER  AND  HIS  FAMILY. 
(jACOPO  BASSANO.) 

UfEzi,  Florence.     {Photo.  Alinari.) 


old  school ;   he  was  more  especially  a  follower  of  Montagna.     His 
son  Jacopo  was  the  best  known  member  of  the  Bassano  family. 

Jacopo  was  trained  in  the 
school  of  Bonifazio  dei 
Pitati ;  by  the  time  of  his 
death  in  1  592,  at  the  age 
of  over  eighty,  he  had  dis- 
played his  ardent  vivacity 
in  an  infinite  number  of 
pictures,  in  which  sacred 
motives  often  served  merely 
as  a  pretext  for  the  ren- 
dering of  scenes  from  the 
fields  and  the  farmhouse 
(Fig.  1 23).  His  sons 
Francesco  (1548-1591), 
Giovanni  Battista  (1553- 
1613),  Leandro  ( 1 5 58- 1 623)  and  Girolamo  ( 1  560- 1 622),  followed 
on  the  same  lines  with  unequal  talent  and  varying  success ;  Fran- 
cesco was  happy  in  his  composition  (Fig.  1 24)  and  Leandro  painted 
some  good  portraits ;  the 
other  two  brothers  did  little 
more  than  fill  the  world 
with  reproductions  of  their 
father's  subjects. 

But  if  we  now  turn  to 
the  greater  men,  we  at 
once  encounter  two  artists 
who  towered  above  the 
rest  by  virtue  of  their  pro- 
ductivity, their  wealth  of 
invention,  and  their  rapidity 
of  execution.  These  were 
Paolo  Cagliari,  generally 
known  as  Paolo  Veronese, 
and  Jacopo  Robusti,  called 
Tintoretto. 

**  You  are  the  ornament 
of  Venetian  painting  "  ex- 
claimed   Titian    to    Paolo, 

and  while,  a  little  later,  Annibale  Carracci  proclaimed  him  "  the 
first   man   in   the   world,"   Guido    Reni   declared   that   if    it    had 

72 


^,%m 


;2-^ff3 


:<.-5^ 


FIG.    124. — THE  POPE  PRESENTS  THE  SWORD  TO 
THE  DOGE.       (fR.   BASSANO.) 

Doge's  Palace,  Venice.    (Photo.  Alinari.) 


VENICE 


FIG.      125.— -S.     ANTHONY    ENTHRONED 

BETWEEN  SS.  CORNELIUS  AND  CYPRIAN. 

(PAOLO  VERONESE.) 

Brera,  Milan.     {Photo.  Alinari.) 


rested  with  him  to  choose  his  artistic 

Personahty  he  would  have  hked  to  be 
*aolo  :  exaggerated  praise,  perhaps, 
but  such  as  to  suggest  the  greatness 
of  the  master. 

To  the  dramatic  violence  of  his 
contemporary  Tintoretto,  Paolo  op- 
posed the  seduction  of  an  art  that 
was  eminently  calm,  serene,  and  mag- 
nificent. For  this  reason  it  was  more 
in  harmony  with  the  sumptuous  and 
joyous  nature  of  the  Venetians  of  his 
day.  He  gathered  up  whatever  he 
could  find  of  delectable  or  of  brilliant 
in  nature  or  in  man,  in  costumes  or 
in  art.  Luxury,  as  evidenced  in  the 
magnificence  of  buildings,  of  garments, 
of  hangings,  in  the  representation  of 
concerts,  of  festivals,  of  processions  or 
of  banquets,  beauty,  as  manifested  in  exquisite  and  voluptuous 
creatures,  all  love  and  smiles — all  these  the  master  knew  how  to 
bring  into  harmony,  bathing  them  in  an  envelope  of  transparent 
colour  ;  in  veiled  or  opaque  tones  he  showed  no  less  originality  than 
in  his  sunny  high  lights,  vibrant  with  joy  and  vigour.     Thus  he  gave 

a  new  palette  to  art,  the 

decorative  value  of  which 
is  still  maintained,  for 
nothing  has  so  far  been 
found  to  surpass  it  in 
clearness  and  nobility. 

Paolo  was  born  in  Ve- 
rona in  I  528,  and  was  the 
pupil  of  Antonio  Badile, 
a  painter  who  in  the  course 
of  his  long  life  (1480- 
1  560)  freed  himself  from 
the  trammels  of  the  an- 
tique style,  and  achieved 
a  combination  of  frankness 
and  suavity  in  the  use  of 
(PAOLO  VERONESE.)  his  brush.     In  the  matter 

{Photo.  Alinari.)  ^f  composition,  however, 

73 


FIG.   126. — ABUNDANCE. 

Accademia,  Venice. 


ART  IN  NORTHERN  ITALY 


Paolo  undoubtedly  felt  the  influence  of  Titian,  and  this  especially  in 
the  early  pictures  of  sacred  subjects  which  he  painted  in  Venice 
(Fig.  125);  but  before  long  he  was  able  to  move  freely  and  to 
assert  his  complete  individuality,  both  when  working  on  inde- 
pendent canvases  and  when  adapting  his  thoughts  and  his  design 
to  the  limits  of  a  decorative  scheme.  The  quadripartite  decoration 
with  Hercules  and  Ceres  (Fig.  126),  painted  for  the  Hall  of  the 
Magistrate  of  the  Biade  (the  corn  magazines ;   the  picture  is  now 

in  the  Academy),  and,  again, 
the  Triumph  or  the  Apotheosis 
of  Venice  (Fig.  127)  upon  the 
ceiling  of  the  Sala  del  Maggior 
Consiglio  in  the  Ducal  Palace, 
are  sufficient  evidence  of  his 
decorative  gifts  and  the  opu- 
lence of  his  genius. 

There  was  one  class  of  sub- 
ject in  which  he  specially  de- 
lighted, namely,  banquets.  He 
gives  us  the  banquets  of  his 
own  day  under  the  guise  of 
The  Supper  at  the  House  of 
Simon  the  Pharisee,  the  Feast 
in  the  House  of  Levi  (in 
the  Brera  and  in  the  Academy 
at  Venice,  Fig.  1 06),  the  Mar- 
riage Feast  at  Cana  (in  the 
Louvre  and  in  the  Dresden 
Gallery),  and  the  Communion 
of  St.  Gregory  (at  Monte 
Berico,  near  Vicenza).  These 
are  enriched  with  grand  architectural  backgrounds,  gorgeous  cos- 
tumes, and  costly  vessels,  intermingled  with  animals  and  buffoons, 
details  which  aroused  the  suspicions  of  the  Tribunal  of  the  Holy 
Office,  who  saw  in  them  an  affront  to  the  Christian  religion. 

In  the  work  of  Tintoretto,  who  was  born  ten  years  before  Paolo, 
and  who  died  in  1  594,  that  is  to  say  six  years  after  him,  we  find 
elements  that  are  of  an  entirely  different,  not  to  say  antagonistic, 
character.  The  clear  and  diffused  colouring  of  Paolo  in  Tintoretto 
becomes  a  gloom  irradiated  by  gleams  of  light,  as  if  the  scene  in 
every  case  had  been  painted  in  a  thunderstorm ;  the  composed 
dignity  of  Veronese  is  exchanged  for  the  restlessness  and  tumult 

74 


FIG.   127. — THE  APOTHEOSIS  OF  VENICE. 
(PAOLO  VERONESE.) 

Doge's  Palace,  Venice.     (Photo.  Alinari.) 


VENICE 


of   a   painter  who   seized   his   motives   with   a   rapidity   that  was 

hterally  instantaneous ;    the  richness  and   the  display  of    the  one 

is  replaced  by  the  ruggedness  and  the  scornful   impatience  of  the 

other.     With  Paolo  the  Virgin  of  the  Annunciation  is  a  lady  who 

receives  Gabriel  graciously  among  gardens  and  colonnades ;    with 

Jacopo  she  is  a  woman  of  the  people,  lodged  in   the  house  of  a 

carpenter    amid    humble    surroundings,    who    is    annoyed    at    the 

apparition.     In  Paolo's  Nativity,  we  have  a  brilliant  court  scene, 

where  the  thatched  hut  is  barely  indicated  amid    the  ruins  of  a 

temple;    in  Jacopo's  a  mysterious 

event  takes  place  in  the  hay  loft 

of  a  dilapidated  stable.     The  Last 

Supper,    in    the    great    canvas    of 

Paolo,    is    set    between    lofty  ,  and 

luminous     colonnades,     on     tables 

covered      with      fine      linen      and 

adorned     with     rich     vases     and 

goblets  and  plates ;   with  Jacopo  it 

becomes  an  austere  assembly  round 

a     board     supported     on     tresdes 

covered   with   a   coarse   cloth   and 

modest  utensils. 

Vasari's  description  of  Tinto- 
retto is  very  apposite  when  he  says 
**  that  his  was  the  most  terrific 
brain  that  had  ever  occupied  itself 
with  painting  .  .  .  that  he  was 
extravagant,  capricious,  rapid,  and 
resolute,  "  and  he  continues :  *'  He 
has  sometimes  in  place  of  finished 

pictures  left  us  sketches  dashed  in  with  such  energy  that  the  strokes 
of  the  brush  appear  to  be  the  result  of  accident  or  of  rage  rather 
than  of  design  or  of  judgment." 

Tintoretto  could  not  endure  to  be  a  moment  without  employment. 
If  he  was  tired  of  painting  he  stopped  for  a  moment  and,  seizing  some 
instrument  of  music,  began  to  play  on  it.  "He  must  be  working 
whatever  was  the  case,"  whether  he  was  paid  well  or  ill,  and  even 
if  he  was  actually  out  of  pocket  himself.  The  members  of  the  Com- 
pany of  S.  Rocco,  in  whose  Scuola  he  has  left  us,  together  with  an 
imposing  cycle  of  paintings  (Fig.  1 28),  the  most  terrific  of  Crucifixions, 
had  asked  him  to  make  a  preliminary  sketch,  before  applying  himself 
to  so  great  an  undertaking.    Jacopo,  having  set  up  a  huge  canvas, 

75 


FIG.    128. — CHRIST  BEFORE  PILATE. 
(TINTORETTO.) 

Scuola  di  S.  Rocco,  \'enice. 
{Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


straightway  painted  the  scene.  "  For  this,"  continued  Vasari,  "  they 
were  provoked  with  him,  and  told  him  that  what  they  had  asked  for 
was  sketches,  and  that  they  had  not  yet  given  him  a  definite  commis- 
sion for  the  work.  To 
which  he  rephed  that  this 
was  his  method  of  plan- 
ning his  work,  and  that 
sketches  and  models 
should  be  of  such  a 
nature  that  no  one  should 
be  deceived  by  them." 
He  ended  by  saying,  that 
if  the  work  did  not  please 
them,  and  they  were  not 
willing  to  pay  for  it,  they 
might  do  with  it  as  they 
liked,  and  that  he  made 
them  a  present  of  it. 
No  wonder,  then,  that 
he  shared  the  fate  of  Titian,  in  the  case  of  the  Assumption,  and 
that  his  audacious  and  impetuous  works  were  not  understood ;  in 
fact,  we  know  that  the  members  of  the  Company  of  St.  Mark 
held  such  long  discussions  over  his  masterpiece  that  in  great 
indignation  he  carried  it  back  to  his  studio,  and  could  only  be 
persuaded  to  give  it  up  again  after  public  opinion  had  changed 
and  was  entirely  on  his  side.  The  work  in  question  was  the 
Miracle  of  St.  Mark  (Fig-  '29)  in  the  Academy,  now  so 
greatly  admired  for  the  tumultuous  life  of  the  figures  and  for  the 
sunlight  that  inundates  it.  In  this  picture  Burckhardt  declares  that 
the  limits  of  Venetian  painting  have  been  overstepped  ;  Taine  points 
out  that  here  instantaneous  movement  had  been  fixed  on  the  canvas 
in  a  manner  only  rivalled  by  Rubens,  and  Charles  Blanc  thought  it 
the  supreme  achievement  of  Venetian  colour. 


FIG.  129. — THE  MIRACLE   OF   S.   MARK.    (TINTORETTO.) 

Accademia,  Venice.     {Photo   Alinari.) 


BIBUOGRAPHY  OF  CHAPTER  VI 

Giorgio  Vasari,  Vile ;  Michiel,  Notlzia  d'opere  di  disegno :  Baldinucci,  Notizie  di  professori  del 
disegno;  Lanzi,  Slorta  pitlorica;  Rosini,  Sloiia  delta  pitlura  italiana;  A.  Crowe  and  G.  B. 
Cavalcaselle,  A  History  of  Painting  in  North  Italy;  Meyer,  Allgemeines  Kit nstler-Lex icon; 
U.  Thieme  and  F.  Becker,  Allgemeines  Lexicon  der  bildenden  Kiinsiler',  I.  Burckhardt,  Der 
Cicerone,  Leipsic,  1904  Morelli,  Le  opere  dei  Maestri  italiani  and  Delia  pitta ra  italiana; 
Berenson,  North  Italian  Painters  of  the  Renaissance;  Miintz,  L'Art  de  la  Renaissance;  Woer- 
mann,  Geschichfe  der  Kunst  aller  Zeiten  und  Volker;  Springer-Ricci,  Manuale  di  Storia 
dell  Arte;  Vuzzom,  Le  Qallerie  deW Accademia  Carrara  di  Bergamo;  Ricci,  La  Pinacoleca  di 
Brera ;  Ft.  Malaguzzi,  Catatogo  delta  R.  Pinacoleca  di  Brera ;  Sansovino,  Venetia ;  Moschini, 
Le  ricche  minere  etc.;  Zanotto,  Pinacoleca  dell' Accademia  Veneta  and  Venezia  e  le  sue  lagune ; 
Ridolfi,  Le  meravigke  dell' Arte;  Selvadco  and  L.azari,  Guida  artistica  di  Venezia;    Berenson, 

76 


VENICE 

The  Venetian  Painters  and  Venetian  Painting,  chiefls  before  Titian;  Molmenti,  La  pittura 
venezidna,  I primi  pittori  tieneziani.  La  storia  di  Venezia,  Uenezia,  etc.',  Ludwig,  Archivalische 
Beitrage  zur  Geschichle  der  venezianischen  Malerei;  Lionello  Venturi,  Pittura  Veneziana: 
Zimmermann,  Die  Landschqft  in  der  venezianischen  Malerei;  Schaefter,  Die  Frau  in  der 
venezianischen  Malerei;  Ludwig,  Venezianische  Hausrath  zur  Zeit  der  Renaissance;  Giorgio 
Bernardini,  Le  Gallerie  dei  quadri  di  Rovigo,  Treviso,  Udine ;  Pietro  d'O.  Paoletti,  Catalogo 
delle  Rr.  Gallerie  di  Venezia;  Angelo  Conti,  Qiorgione,  Florence,  1894;  H.  Cook,  Qiorgione, 
London,  1900;  U.  Monneret  de  Villard,  Giorgione  da  Castelfranco,  Bergamo,  1904;  L.  Jusli, 
Giorgione,  Berlin,  1908  ;  L.  W.  Schaufuss,  Zur  Beurtheilung  der  Qemalde  Giorgione  s,  Dr^en, 
16/4;  F.  Wickhoff,  Giorgione  's  Bilder  z.  rom.  Heldengedichten  in  Jahrh.  d.  Konigl.  Preuss. 
Kunstsamml. ,  xvi,  34  ;  G.  Gronau,  Kritische  Studien  zu  Giorgione  in  Repert.  fiir  Kunstto.,  1908, 
403,  503  ;  W.  Schmidt,  Zu  r  Kenntniss  Giorgiones  in  Repert.  fii  r  Kunstw.  1 9(ji3,  I  1  5  ;  M  Boehn, 
Giorgione  and  Palma  Vecchio,  Leipsic,  1908;  EUia  Fernoni,  Nolizie  biografiche  su  Palma  il 
Vecchio,  Bergamo,  1 886 ;  Peisino  Locatelli,  Notizie  intorno  a  Qiacomo  Palma  il  Vecchio, 
Bergamo,  1890,  E.  Fornoni,  Palma  il  Vecchio,  Bergamo,  1901  ;  R.  de  Meislatrie,  Testament  de 
Jacques  Palma  dil  Palma  Vecchio  in  Gazette  des  Beaux  Arts,  1,  xxi,  391  ;  G.  Frizzoni,  Nuove 
rivelazioni  intorno  a  Palma  Vecchio  in  Rassegna  d'Arte,  1906  ;  M.  Hamel,  Tilien,  Paris  (n.  d.)  ; 
W.  Borgann,  Tizian,  Hanover,  1865  ;  A.  Crowe  and  G.  B.  Cavalcaselle,  Tiziano,  Florence, 
1877-78;  G.  Lafenestre,  La  vie  et  I'oeuvre  de  Titien,  Paris,  1886;  C.  Barfoed,  Tiziano  Vecellio, 
Copenhagen,  1889;  H.  Knackfuss,  T/rran,  Leipsic,  1897;  O.  Fischel,  Tizian,  Stuttgart,  1904; 
G.  Gronau,  Titian,  London,  1904;  G.  Cantalamessa,  Tiziano  in  Nuova  Antologia,  1908;  G. 
Gronau,  Titian  ats  Portratmaler  in  Das  Museum,  v,  29 ;  Campori,  Sebastien  del  Piombo  et 
Ferrante  de  Gonzague  in  Gazette  des  Beaux  Arts,  1,  xviii,  336;  Milanesi,  Les  correspondants  de 
Michelange ;  J.  Meyer,  Das  Frauenbildmiss  des  Sebastiano  del  Piombo  aus  Schloss  Blenheim  in 
Jahrb.  d.  Konigl.  Preuss.  Kunstsamml.,  vii,  58;  G.  Bernardini,  Sebastiano  del  Piombo,  Rome, 
1 908  ;  P.  D' Achiardi,  Sebastiano  del  Piombo,  Rome,  1 908  ;  O.  Fischel,  Sebastiano  del  Piombo 
in  Das  Museum,  v,  37  ;  L.  Sernagliotto,  Discorso  sopra  il  celebre  pitlore  Bonifacio  veneziano, 
Venice,  1883;  G.  Ludwig,  Bonifazio  dei  Pitati  in  Jahrb.  d.  Konigl.  Preuss.  Kunstsamml., 
1901  ;  L.  Bailo  and  G.  Biscaro,  Delia  vita  e  delle  opere  di  Paris  Bordon,  Treviso,  1900; 
L.  Biscaro,  Lorenzo  Lotto  a  Treviso  in  L'Arte,  1898;  P.  Gianuizzi,  Lorenzo  Lotto  e  le  sue 
opere  nelle  Marche  in  Nuova  Rivista  Misena,  vii ;  P.  Gianuizzi,  Le  opere  di  Lorenzo  Lotto 
e  dei  suoi  discepoli  marchigiani in  Arte  e  Storia,  1894  ;  Libra  dei  Conti  di  Lorenzo  Lotto  in  the 
Gallerie  nazionali  ilaHane.i,  Rome,  1894;  P.  Locatelli,  /  dipinti  di  Lorenzo  Lotto  nell'oratorio 
Suardi,  Bergamo,  1891  ;  B.  Berenson,  Lorenzo  LoWo,  London,  1901  ;  G.  Frizzoni,  Lorenzo  Lo«o 
pittore  in  the  Archioio  Slorico  dell  Arte,  ix,  pp.  195,  427,  1896;  F.  di  Maniago,  Elogio  del 
Pordenone,  Venice,  1826;  G.  Campori,  II  Pordenone  in  Ferrara,  Modena,  1866;  A.  Corna, 
Storia  ed  arte  in  S.  Maria  di  Campagna,  Bergamo,  1908;  Hadeln,  Zum  Oeuvre  Bernardino 
Licinios  in  Repertorium  fiir  Kunstwissenschaft,  xxxii,  182;  F.  Zanotti,  Cenni  sulla  Mita  di 
Andrea  Meldolla  detlo  Schiavone,  Venice,  1833  ;  L.  Pezzoli,  Elogio  di  Andrea  Schiavone  (n.  d.); 
P.  M.  Tua,  Contributo  all'elenco  delle  opere  dei  piltori  da  Ponte  in  Bolletlino  del  Museo  Civico 
di  Bassano,  1907  ;  E.  Trottmann,  Zur  Kunst  der  Bassani,  Strasburg,  1908;  G.  Gerola,  //  prima 
pittore  bassanese  Francesco  da  Ponte  il  Vecchio  in  the  Boll,  del  Museo  Civico  di  Bassano,  1907  ; 
G.  Gerola,  L^n  nuovo  libra  suU'arte  dei  Bassani,  ibid.,  1908  ;  Giov.  Chiuppani,  Unafamiglia  di 
pittori  bassanesi,  I  Nasocchi  in  the  Boll,  del  Museo  di  Bassano,  ann.  1908-l909;  G.  Biadego, 
Intorno  a  Paolo  Veronese.Wenice,  1899;  Ch.  Yriarte,  Paul  Veronese  au  palais  ducal  de  Venise 
in  the  Gazette  des  Beaux  Arts, 3, v, 5;  P.  Lefort,  Les  peintures  de  Veronese  au  Musee  de  Madrid 
in  Gaz.  des  Beaux  Arts.  3,iii,470  ;  Ch.  Blanc,  Les  fresques  de  Veronese  au  chhteau  de  Mas'ere 
pres  de  Trevise  in  the  Gazette  des  Beaux  Arts,  2,  xvii,  385  :  A.  Baschet,  Paul  Veronese  appele 
au  tribunal  du  Saint  Office  a  Venise  in  the  Gazette  des  Beaux  Arts,  I,  xxiii,  378;  P.  Caliari, 
Paolo  Veronese,  Rome,  1888;  R.  Fry,  Paolo  Keroneae,  London,  1903  F.  H.  Meissner,  Paolo 
Veronese,  Bielefeld,  1 896  ;  C.  Ridolfi,  Vita  di  Qiacomo  Robusti  delta  il  Tinloretto,Wenice,  1 842  ; 
Lacroix,  Tinloret  in  the  Revue  des  Arts,  xv,  361,  Brussels,  1862  :  Galanti,  //  Tintoretto  in  the 
Alii  dell'Accademia,  \/enice,  1876;  Janitschek,  Tintoretto  in  the  series  Kunst  und  Kunsller, 
1876;  Maintz,  Tinloretin  L' Artiste, i\ ;  M.  de  Maslalrie,  Testament  de  Jacopo  Robusti,  in  the 
Gazette  des  Beaux  Arts,  1863.  xix,  96;  H.  Thode,  Tintoretto,  Leipsic,  1901  ;  H.  Thode, 
Tintoretto,  Kritische  Studien  iiber  des  Meislers  Werke  in  the  Repertorium  f.  Kunstwissenschaft, 
xxiii,  427;  xxiv,  7  and  429  ;  xxvii,  24  ;  Stoughton  Holbom,  Jacopo  Robusti,  London,  1903. 


77 


FIG.   130. — LAST  JUDGMENT.      (PALMA  GIOVINE.) 

Doge's  Palace,  Venice.     (Photo.  Alinari.) 

CHAPTER  VII 

VENICE 

Painting  from  the  Seventeenth  to  the  Nineteenth 
Century 

The  Interregnum. — Disciples  of  Tintoretto. — Bernardo  Strozzi. — Carl  Loth.— A.  Varolarl. — 
Foreign  Artists  and  Conflicting  Tendencies. — Lazzarini. — Piazzetta. — Rosalba  Carriera. — 
Canaletto. — Quardi. — Bellotto,  Tiepolo,  Canova,  and  the  neo-classic  Revival. — Romanticism. 

Upon  the  death  of  Paolo  Veronese  and  of  Tintoretto  there  followed 
a  period  of  mediocrity  in  Venetian  art,  which  we  should  prefer  to 
call  an  interregnum  rather  than  a  time  of  decadence,  seeing  that  fresh 
triumphs  were  in  store  in  the  eighteenth  century.  In  Venice  the 
painters  of  the  seventeenth  century  were  held  in  the  bonds  of  tradition, 
so  that  they  yielded  less  than  others  to  the  influence  either  of  the 
violent  naturalism  of  Caravaggio  or  the  eclecticism  of  the  Bolognese 
artists  which  at  this  time  inundated  the  other  provinces  of  Italy. 
Indeed,  the  art  of  these  latter,  as  regards  both  their  composition 
and  the  sobriety  of  their  simple  decoration,  must  have  appeared  to 
the  Venetians,  accustomed  as  they  were  to  the  splendours  of  their 
native  masters,  rude  and  poverty-stricken,  not  to  say  boorish ;  and 
this  was  doubtless  why  they  preferred  to  such  work  the  vast 
and  crowded  canvases  of  Domenico  Robusti,  the  son  of  Tintoretto 
(1562-1637),  of  Jacopo  Negretti,  known  as  Palma  Giovine,  and  of 
many  of  the  disciples  and  followers  both  of  these  artists  and  of 
Paolo  Veronese.  But  the  work  of  these  Venetians  was  no  longer 
animated  by  the  touch  of  genius ;  the  splendour  of  the  scenes 
depicted  often  degenerated  iiuo  a  heavy  ostentation ;  the  variety 
and  abundance  of  the  composition  gave  place  to  mere  confusion 
and  rapidity  of  execution,  a  haste  that  outran  the  speed  of  the 
artist's  ideas.  By  this  we  do  not  mean  to  say  that  the  art  of 
Venice  had  lost  all  value — in  fact  we  have  been  careful  to  avoid 
the   use   of   the   term   decadence.     For   it   retained   its   amplitude, 

78 


VENICE 


Its  richness.  Its  courage,  germs  whence  sprang  the  painting  of 
Piazzetta  and  of  Tiepolo. 

Domenico  Tintoretto  (Fig.  131)  remained  the  only  strong  disciple 
of  the  great  Tintoretto  ;  for  when  in  1575  Teotocopulo,  known  as 
II  Greco  (Fig.  132),  went  to  Spain,  where  he  died  in  1625,  he 
broke  with  the  old  tradition,  to  adopt  a  fantastic  and  glittering 
Individual  style. 

Jacopo  Negretti,  known  as  Palma  Giovine  (1  544-1628),  was  the 
grand-nephew  of  Palma  Vecchio ;  he  was  the  son  of  Giulia  (a 
niece  of  Bonifazio  Veronese)  and  of  the  Antonio  Palma  already 
mentioned.     He  learned  to  paint 


}¥- 

^ 

■B 

jur.  "  ^B 

s^s 

rfuJiffM 

m&r^'-^ 

^v^^^^^H 

m^^ 

IhH 

from  his  father,  and  applied  him 
self  to  copying  the  works  of  Gior- 
gione  and  of  Titian  ;  he  was  then 
taken  to  Urbino  and  to  Rome, 
where  he  remained  for  eight  years 
studying  Michelangelo,  Raphael, 
and  Polidoro.  Having  adopted 
the  canons  of  Roman  art,  it  was 
natural  that  when  on  his  return 
to  Venice  he  was  compared  with 
Paolo  and  with  Tintoretto,  his 
style  should  appear  languid  and 
cold,  and  he  be  neglected.  He  im- 
proved his  position  by  attaching 
himself  to  Alessandro  Vittoria, 
who,  when  he  was  not  treated 
with  sufficient  deference  by  Paolo 
and  Tintoretto,  employed  Palma 
in  many  of  the  works  on  which  he 

was  engaged.  Under  the  influence  of  his  surroundings,  Palma 
gradually  forsook  his  Roman  maxims  and  returned  to  the  imposing 
and  vivacious  art  of  Venice  (Figs.  1  30  and  1 34).  Unfortunately 
he  had  not  the  capacity  for  lofty  flights,  so  that  with  him  extrava- 
gance often  took  the  place  of  grandeur  and  negligence  of  zeal 
for  his  work.  The  freshness  of  his  colour,  however,  a  certain 
decorative  sense  and,  above  all,  the  beauty  of  his  portraits  of 
the  Doges,  brought  him  many  admirers,  followers,  and  disciples. 
Among  these  it  is  usual  to  reckon  Marco  Boschini  (1630-1678), 
who  was  also  a  poet  and  the  author  of  the  Carta  del  Navegar 
pittoresco;  but  Boschini  at  the  time  of  Raima's  death  was  not  more 
than    fifteen    years   old.     However,    among    those   who   followed 

79 


FIG.    131. — MARY  MAGDALEN. 

(domenico  ROBUSTI.) 

Capitol  Gallery,  Rome.     {Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


FIG.   132. — CHRIST  HEALING  THE  BLIND  MAN. 
(d.   TEOTOCOPULO,   IL  GRECO.) 

Gallery,  Parma.     {Photo.  Alinari.) 


him,  more  or  less  directly 
or  indirectly,  must  be 
reckoned  several  success- 
ful artists,  of  whom  the 
most  notable  was  Andrea 
Micheli,  known  as  II  Vi- 
centino  (1539-1614),  an 
imaginative  and  sincere 
painter.  The  large  can- 
vases by  him  in  the  Ducal 
Palace,  The  Sea-fight  hp 
the  Curzolari  Islands,  and 
the  Landing  of  Henry  III 
close,  not  altogether  un- 
worthily, the  grand  cycle 
of  Venetian  paintings. 
Pietro  Damini  da  Castelfranco  (1592 -died  of  the  plague  1631), 

a  vigorous  colourist,  often  imitated  and  copied    the  works  of  the 

great   men   of   the   cinquecento;    and    the   same   may   be   said   of 

Pietro    Muttoni,    known    as    Delia    Vecchia    (1605-1678),    the 

author  of  many  cartoons  for  the  mosaics 

of  St.  Mark's,  among  them  the  Carry- 
ing away  and  the  Reception  at  Venice 

of  the  body  of  the  Saint.     He  made  it 

his  aim  to  imitate  the  colour  of  Gior- 

gione,  and  succeeded  when  he  refrained 

from  exaggeration,  as  in  certain  heads 

of  warriors. 

As   may  be  readily  understood,   the 

grand  Venetian  art  of  Giorgione  and  of 

Tintoretto    was    too    rich    in    powerful 

examples  to  make  it  either  possible  or 

desirable  that  lesser  and  later  men  should 

be  moulded  by  a  single  influence.     The 

most  that  can  be  said  is  that  in  certain 

cases   preferences   were   shown.     Carlo 

Ridolfi  of  Lonigo  (1594-1658),  more 

successful    as    a    historian    of    painting 

than    as   an    artist,    admired   Tintoretto 

(Fig.   137);    Titian  had  a  faithful  fol- 
lower  in   Giovanni    Contarini    (1549- 

1606),  who  has  left  us  vigorous  works 

80 


FIG.    133. BIRTH  OF  THE  VIRGIN. 

(g.  CONTARINI.) 

Church  of  the  Holy  Apostles, 
Venice.     (Photo.  Alinari.) 


VENICE 


134. — ALLEGORY   OF   THE   LEAGUE   OF  CAMBRAL 
(PALMA    GIOVINE.) 

Doge's  Palace,  Venice.     {Photo.  Alinari.) 


in  the  Battle  of  Verona, 
of  the  Ducal  Palace,  and 
in  the  Birth  of  the  Virgin 
in  the  SS.  Apostoli  (Fig. 
1 33)  ;  and  finally,  passing 
over  many  others,  Tiberio 
Tinelli  0386-1638)  in- 
clined to  Leandro  Bassano. 
But  Tinelli  devoted  him- 
self with  success  to  por- 
traiture also  (Fig.  136), 
attaching  himself  ultimately 
to  Vandyke. 

Bernardo  Strozzi,  know^n 
as  II  Cappucino  or  as  II 
Prete  Genovese,  brought 
the  large  and  robust  manner  of  Rubens  with  him  from  Genoa. 
Rejecting  all  sombre  elements,  he  became  the  brilliant  and  cheerful 
painter  of  such  pictures  as  the  St.  Sebastian  in  S.  Benedetto,  and 
the  Guardian  Angel  of  the  SS.  Apostoli.  A  powerful  portraitist, 
Strozzi  worked  in  rivalry  with  the  greatest 
of  the  Flemings  and  the  Spaniards.  So 
much  was  he  admired  in  Venice,  that, 
together  with  II  Padovanino,  he  was 
entrusted  with  the  completion  of  the 
decoration  of  the  Libreria.  Nicolo 
Renieri  of  Maubeuge,  who  lived  for 
long  in  Venice — we  have  records  of 
him  as  an  old  man  up  to  1641 — also 
great  in  portraiture,  and  Jan  Lys,  who 
was  bom  at  Oldenburg,  and  died  in 
Venice  in  1629,  a  vivacious  painter  of 
the  nude,  introduced  new  elements  of 
Flemish  and  Dutch  technique.  The 
latter,  above  all,  with  his  famous  S. 
Jerome  in  the  church  of  the  Tolentini, 
played  an  important  part  in  the  revival- 
of  Venetian  painting  in  the  eighteenth 
century.  Moreover,  the  sombre  natural- 
ism of  Michelangelo  da  Caravaggio  and 


FIG.    135. — SS.    GEORGE,    JEROME, 

AND  CLEMENT,    (m.  ponzone.)     fj^g  g^ave  and  accomplished  eclecticism  of 

Church  of  S.  Maria  dell'  Orto,         -      »  -    -  -^ 

Venice.     (Photo.  Alinari.) 


the     Bolognese     painters     attempted     at 


ART  IN  NORTHERN  ITALY 


times  to  make  their  way  into  the  Lagoons  and  to  conquer  Venice  as 
they  had  conquered  all  the  rest  of  Italy. 

Perhaps  the  best  among  the  many  gloomy  Naturalisti  was  the 
German  Carl  Loth  (1632-1698),  who  came  from  Munich  ;  in  his 
day  he  was  held  in  great  esteem  and  received  it  is  said  a  hundred 
pieces  of  Hungarian  gold  for  his  fine  Nativity  in  S.  Silvestro. 
Luca  Giordano,  too,  has  left  examples  of  his  executive  powers  in 
Venice,  in  the  Salute  and  in  the  decoration  of  many  of  the  palaces. 
He  had  many  followers  in  his  arrogant,  daring  style,    the    most 

important  of  whom  was  Federico 
Crivelli  (fl.  1663-1690),  who  in 
his  turn  was  the  master  of  Sebas- 
tiano  Ricci. 

But  in  spite  of  the  many  new 
and  disturbing  currents  that  from 
time  to  time  broke  into  local 
tradition,  the  Venetians  on  the 
whole  remained  strangers  to  these 
tentative  changes,  if  not  hostile 
to  them  ;  the  only,  or  almost  the 
only,  exception  is  the  solitary 
group  which  included  Sebastiano 
Bombelh  (1625-died  after  1716). 
Bombelli  became  an  ardent  fol- 
lower of  Guercino,  but  returned 
a  penitent  to  Paolo,  a  master 
who,  together  with  Tintoretto, 
seems  sooner  or  later  to  have 
captivated  all  the  foreigners  who  made  a  long  sojourn  or  settled 
among  the  wonders  of  Venice. 

In  the  middle  of  the  seventeenth  century  there  died  at  Venice 
an  artist  distinguished  above  his  contemporaries  by  his  greater 
versatility  and  knowledge  and  by  his  definite  return  to  Titian. 
This  was  Alessandro  Varotari,  born  at  Padua — hence  the  name  of 
Padovanino  by  which  he  was  known — the  son  of  a  Veronese 
painter  called  Dario  who  had  settled  in  that  town.  It  has  been 
said  of  him  that  there  was  not  a  subject  treated  by  Titian  which  he 
was  incapable  of  handling  satisfactorily  ;  the  pleasing  themes  with 
grace  (Fig.  138),  the  strong  ones  with  vigour,  and  the  heroic  ones 
with  grandeur.  Certain  it  is  that  the  variety,  the  vivacity,  and  the 
knowledge  exhibited  in  his  works — nowhere  better  seen  than  in  his 
S.  Liberale  Freeing  the  Condemned  Prisoners  in  the  church  of  the 

82 


FIG.    136. PORTRAIT   OF    LUIGI   MOLIN. 

(t.   TINELLI.) 
Accademia,  Venice.     (Photo.  Alinari.) 


VENICE 


Carmini,  and  in  his  Marriage  Feast  at  Cana  in  the  Academy — 

appeared  to  revive  the  pictorial  facuhies  of  the  past  in  Venice  and  to 

prepare  those  of  the  future. 

It  is  indeed   impossible   to 

deny    that   in    the    slender 

elegance  of  his  forms,   the 

softness    of    his    execution, 

the     varied     foreshortening 

of  figures  and  architectural 

elements,   we  have   in   the 

work,    of    Padovanino    the 

first  hint  of  the  new  growth 

which,    grafted    on    to    the 

main  trunk  of  the  cinque-  "°a,^37.-adoration  of  the  magi,    (c  ridolfi.) 

J.J         P  Church  of  b.  Giovanni  Klemosmano,  Venice. 

cento,  was  destmed,  a  riun-  (Phoio.  Aiinari.) 

dred  years  later,  to  produce 

the  marvels  of  Tiepolo's  art.  Something  of  the  sort  flashes  out  at 
times,  timidly  indeed  in  the  works  of  his  pupils.  It  is  even  more 
evident  in  the  work  of  Pietro  Liberi  of  Padua  (1605-1687) 
whose  fine  Battle  of  the  Dardanelles  is  in  the  Ducal  Palace. 
Liberi  assimilated  impressions  received  from  the  works  of  Ra- 
phael and  Michelangelo 
in  Rome,  and  from  those 
of  Correggio  in  Parma, 
without  injury  to  the  unity 
of  his  own  productions,  the 
colour  of  which,  thanks  to 
the  cheerful,  although  man- 
nered, use  of  the  red  tints 
with  which  he  outlined 
and  shaded  his  graceful 
figures,  was  greatly  ad- 
mired. His  elegance  was 
inherited  by  Nicolo  Bam- 
bini (1651-1736),  who 
was,  however,  but  a  poor 
colourist.  And  not  only  was 
the  ground  prepared  in 
Venice  by  these  men  and  by 
Padovanino  for  the  brilliant  palette  of  the  eighteenth  century 
painters,  but  we  find  in  their  works  hints  that  the  futility  of 
mythological  subjects  was  beginning  to  make  itself  felt. 

83  G    2 


FIG.    138. TRIUMPH    OF   VENUS.       (PADOVANINO.) 

Accademia  Carrara,  Bergamo.     (Photo.  Aiinari.) 


ART  IN  NORTHERN  ITALY 


It  would  be  a  thankless  task  to  follow  up  the  series  of  mediocre 
painters  of  the  day.     The  number  of  foreign  artists  who  flocked  to 

Venice,  and  who  at- 
tempted either  to  impose 
their  own  style  or  to  adopt 
that  of  the  great  Venetian 
painters,  together  with  the 
alternate  subjugation  and 
resistance  of  the  native 
artists,  led  to  a  confusion 
which  found  expression  in 
the  indeterminate  charac- 
ter of  an  unequal  and 
mediocre  art.  From  this 
confusion,  such  men  as 
Antonio  Zanchi  of  Este 
(1639-1722)  barely 
emerged,  upheld  by  their 
faith  in  the  great  masters  of  former  days.  Zanchi  was  a  sombre 
painter,  but  firm  and  effective  in  his  drawing  and  composition 
(Fig.  1 39) ;  in  conjunction  with  Pietro  Negri  he  painted  on  the 
staircase  of  the  Scuola  di  S.  Rocco  a  series  of  impressive  allegories 
founded  on  the  plague  of  1630.  With  him  we  may  class  Antonio 
Fumiani    (1643-1710), 


139. THE    PLAGUE    OF    163O.       (a.    ZANCHI  ) 

Scuola  di  San  Rocco,  \'enice. 


■*^f^'i^^4^--y*i- 


whose  work  on  the  ceiling 
of  S.  Pantaleone  (Fig. 
1 40)  is  imposing  and  imag- 
inative in  spite  of  its  dark 
and  foggy  tones  ;  Andrea 
Celesti  (1637-1706),  the 
charm  of  whose  colour  is 
but  a  tradition  in  conse- 
quence of  his  employing 
a  bad  oily  priming  which 
has  blackened  his  paintings 
(Fig.  141),  and,  finally, 
Niccolb  Cassana  (1659- 
1  7 1 4) — member  of  a  family 
rich  in  artists — a  painter  of 
portraits  and  of  bacchanalian  scenes,  notable  for  their  warmth  of 
colour. 

But  with  these  men  the  period  of  storm  and  stress  ended,  and 

84 


FIG.    140. — FRAGMENT    OF    CEILING-DECORATION. 
CHURCa   OF   S.    PANTALEONE,  VENICE.       (A.   FUMIANI.) 

(Pholo.  Alinari.) 


VENICE 


FIG.    141. — THE   GOLDEN   CALF.      (A.    CELESTI.) 

Doge's  Palace,  Venice.     {Photo.  Alinari.) 


calm  was  restored ;  the  art  of  Venice  took  on  a  splendour  of  new 
light  and  of  new  grace  ;  and  it  was  Gregorio  Lazzarini  (1 654-1  740) 
who  built  the  bridge 
from  the  art  of  the 
seventeenth  to  the 
glorious  Venetian 
art  of  the  eighteenth 
century ;  his  palette 
is  generally  vigor- 
ous and  cheerful, 
his  drawing  grace- 
ful and  refined,  but 
his  greatest  quality  is 
his  feeling  for  com- 
position, vivacious 
yet  free  from  those 

contortions  and  mannerisms  into  which  so  many  of  his  predecessors 
had  fallen ;  indeed,  we  are  at  times  conscious  of  a  certain  touch  of 
academic  coldness,  as  in  his  The  Charity  of  S.  Lorenzo  Giustiniani 
Lazzarini  had  many  pupils,  among  whom,  is  it  said,  was  Tiepolo 
himself,  who,  however,  had  other  and 
more  efficient  precursors  among  artists  of 
rich  imagination  and  splendid  daring. 
Sebastiano  Ricci  (1660-1734)  from  Bel- 
luno  was  a  painter  born,  gifted  with  a 
facile  brush,  who  was  able  to  absorb  and 
to  conciliate  in  his  work  the  most  opposite 
tendencies.  In  Venice  he  was  a  pupil  of 
Cervelli,  then  in  Lombardy  an  imitator  of 
the  fantastic  Magnasco,  in  Bologna  of 
Cignani ;  he  gleaned  with  great  ability 
from  the  old  Venetian  masters  and  also 
from  Correggio ;  he  was  rich  and  varied 
in  his  colour,  especially  after  having  seen 
on  his  travels  the  Flemish  and  Dutch 
masters.  In  Venice  he  painted  a  great 
number  of  large  canvases,  many  of  which 
have  been  lost ;  at  Schonbrunn,  near 
Vienna,  and  at  Hampton  Court,  he  left 
a  series  of  sumptuous  decorations  that  are 
still  held  in  honour.  He  was  also  the 
author  of  the  cartoon  for  the  fine  mosaic — 


FIG.  142. — PIUS  V  AND  SAINTS. 
(SEB.    RICCI.) 

Church  of  the  Gesuati,  Venice. 
{Photo.  Alinari.) 


85 


ART  IN  NORTHERN  ITALY 


The  Magistrates  of  Venice  worshipping  the  Body  of  St.  Mark. 
— on  the  fa9ade  of  the  basiUca.  Gian  Battista  Pittoni  (1687- 
1  767),  easy  and  distinguished  in  style,  shows  a  notable  originaHty 
in  the  rapid  and  instantaneous  movements  of  his  figures,  which 
is  not  without  a  touch  of  affectation ;  there  is  a  tastefulness  in  his 
colour  that  finds  favour  at  the  present  day  (Fig.  143).  His  much- 
praised  work,  The  Miracle  of  the  Loaves  and  Fishes,  long 
supposed  to  have  been  lost,  is  now  to  be  seen  in  the  sacristy  of 
Santo  Stefano.  Jacopo  Amigoni,  a  vivacious  but  rather  common- 
place painter  (1675-1752),  can  be  better  studied  abroad  than  in 
Venice,  for  he  worked  long  in  Germany,  in  London,  and  in  Spain, 

where  he  died  in  the  service  of 
the  Court. 

There  were  numerous  painters 
in  Venice  at  the  beginning  of  the 
eighteenth  century  who  were 
capable  of  producing  vast  and 
imposing  theatrical  compositions 
upon  canvases  of  enormous  size 
with  considerable  decorative  effect. 
We  may  mention  Antonio  Moli- 
nari  (1665 — still  alive  in  1727) 
whose  Triumph  of  the  Holy 
Ark,  formerly  in  the  church  of 
the  Corpus  Domini,  but  now  in 
the  hall  of  the  Libreria,  and 
another  grandiose  composition  in 
S.  Pantaleone  still  find  admirers ; 
Gaspari  Diziani  (1690-1763),  a 
pupil  of  Ricci,  who  was  renowned 
also  as  a  scene  painter,  and  finally  Giovanni  Antonio  Pellegrini 
(1675-1741),  who  was  a  guest  at  many  of  the  Courts  of  Europe, 
and  in  Paris  painted  the  famous  Salle  du  Mississipi  with  more 
than  a  hundred  figures  arranged  in  groups.  But  it  was  not  so 
much  from  the  wise  and  moderate  Lazzarini,  or  from  Ricci  and 
the  other  exuberant  painters  whom  we  have  mentioned,  as  from  the 
vigorous  draughtsmanship  of  Piazzetta,  that  Tiepolo  derived  definite 
instruction  ;  he  it  was  who  restored  the  old  consistency  and  strength 
to  the  Venetian  painting  of  the  eighteenth  century. 

Gian  Battista  Piazzetta  (1682-1754)  worked  at  first  as  a 
sculptor,  more  especially  as  a  wood  carver,  under  his  father 
Jacopo.     When  he  took  to  painting,  he  formed  himself,  above  all, 

86 


fig.  143. mary  magdalen. 

(g.  b.  pittoni.) 


VENICE 


FIG.     144. — THE    FORTUNE-TKLLER. 
(G.    B.    PIAZZETTA.) 

Accademia,  Venice.     {Photo.  Alinari.) 


on  the  model  of  the  Bolognese, 
Giuseppe  Crespi ;  it  was  from  him 
that  he  derived  that  love  for  violent 
contrasts  of  light  and  shade  which 
he  exaggerated  still  further,  diffusing 
a  wealth  of  silvery  tints  in  place  of 
the  golden  tones  beloved  of  the  old 
Venetians  (Fig.  1 44).  In  his  draw- 
ings, in  his  engravings,  and  in  his 
smaller  pictures,  he  displays  an  ele- 
gant fancy  ;  nor  in  the  invention  and 
colouring  of  his  large  compositions 
was  he  so  weak  as  some  would  have 
us  beheve ;  his  powers  are  well 
shown  in  the  Beheading  of  the 
Baptist  at  Padua  and  in  the  St. 
Dominic  in  Glory  in  the  Church  of 
SS.  Giovanni  e  Paolo  in  Venice. 

Giuseppe  Angeh  (1709-1798) 
the  painter  of  a  graceful  Immaculate  Conception  in  the  Frari,  the 
Dalmatian,  Federico  Bencovich,  whose  fine  work  in  the  church 
of  S.  Sebastian  was  formerly  attrib- 
uted   to    Piazzetta,    and    Domenico 

Maggiotto  (1729-1798,  Fig.  146), 

were  artists  who  were  followers  of 
Piazzetta  down  to  the  time  when 
Tiepolo  drew  them  within  his  orbit, 
whence,  too,  the  following  painters 
issued  : — Fabio  Canal  (I  707-1  767) 
and,  later  on,  Giovanni  Battista  Canal 
(1  747-1825),  both  of  whom  painted 
frescoes  in  many  a  church  in  the 
province  of  Treviso,  and  many  others, 
of  whom  it  may  be  said  that  they  lost 
more  and  more  of  strength  and  beauty 
in  proportion  as  they  diverged  from 
Gian  Battista  Tiepolo,  the  true  be- 
getter of  the  light ;  that  his  sons  are 
greatly  superior  to  their  contempo- 
raries, is  a  consequence  of  their  close 
adherence  to  their  father.  These  sons  were  Giovanni  Domenico 
(1727-1804)  and  Lorenzo  (1736-1772);    the  vigorous  works  of 

87 


FIG.     145. — PORTRAIT    OF    ENRICHETTA 
DI    MODENA.       (ROSALBA    CARRIERA.) 

Uffizi,  Florence.     (Photo.  Giant.) 


ART  IN  NORTHERN  ITALY 


the  first  are  often  attributed  to  his  father,  while  the  latter  acquired 
fame  as  a  notable  engraver. 

At  the  time  when  the  great  decorative  art  of  G.  B.  Tiepolo  was 
in  full  vigour — of  this  we  shall  speak  later  on — other  branches  of 
painting  were  flourishing  in  Venice.     In  the  first  place,  the  art  of 

portraiture,  an  art  in  which  the 
above-mentioned  Sebastiano 
Bombelli  of  Udine  showed  him- 
self a  forcible  innovator.  He 
was  the  master  of  the  famous 
Bergamasque,  Vittore  Ghis- 
landi  (1655-1743),  known  also 
as  Fra  Paoletto,  or  II  Frate  da 
Galgario,  from  the  monastery  in 
his  native  home  where  he  lived. 
A  man  of  taste,  an  innovator, 
and  a  fine  technician,  he  in  his 
turn  successfully  taught  the  art 
of  portraiture  to  Bartolomeo 
Nazzari,  who  also  came  from 
Bergamo  (1689-1758). 

A  special  and  charming 
branch  of  art  is  represented  by 
the  pastel  portraits  of  Rosalba 
Carfiera  (1675-1758),  which  became  the  fashion  through  half 
Europe,  thanks  to  their  vaporous  grace  (Fig.  1 45).  The  portraits  of 
Pietro  Longhi,  again  (1702-1785),  are  lifehke  and  spontaneous; 
but  those  of  his  son  Alessandro  (1733-1813),  often  full  lengths, 
are  more  dignified,  as  for  example,  that  fascinating  one  of  a  Vene- 
tian noble  or  sea  captain  in  the  museum  at  Padua.  Nor  is  there  any 
falling  off  in  this  branch  of  art  when  we  come  to  LudovicoGallina 
( I  752- 1  787)  and  to  Domenico  Pellegrini  ( I  759- 1 840),  one  of  whose 
portraits,  representing  the  celebrated  engraver  Francesco  Bartolozzi, 
has  even  been  attributed  to  Romney  and  to  Reynolds.  Pietro 
Longhi  has  indeed  a  manner  all  his  own  in  pictures  of  genre 
subjects,  and  this  has  gained  him  a  general  appreciation  as  the 
chronicler  of  the  intimate  life  of  Venice,  which  he  has  reproduced 
in  an  extensive  series  of  interesting  little  pictures  instinct  with  the 
very  spirit  of  Goldoni's  comedy  (Fig.  147). 

Even  greater  importance  must  be  assigned  to  the  wonderful 
school  of  landscape  painters  of  this  period,  whose  productions  are 
now  so  much  sought  after  and  command  such  high  prices.     They 

88 


FIG.    146. — PAINTING.       (D.   MAGGIOTTO.) 

Accademia,  Venice. 


VENICE 


are   no   less  remarkable   for   charm   of   colour   than  for  beauty  of 
drawing  and  for  the  science  shown  in  the  perspective. 

These  artists  had  a  stronger  tradition  to  support  them  than 
could  be  found  in  other  lands.  As  far  back  as  the  time  of  Jacopo 
Bellini  we  have  evidence  of  a  keen  love  for  landscape  and  for 
architectural  backgrounds,  and  this  takes  a  remarkable  development 
in  the  hands  of  his  son  Gentile,  of  Carpaccio,  and  of  others  who 
have  preserved  for  us  the  aspect  of  the  squares,  the  streets,  the 
churches  and  the  canals  of  Venice  with  an  accuracy  that  is  quite 
modern.  An  imaginative  element  was  introduced  by  Giorgione 
and  Titian,  together  with  a  large  and  poetical  rendering,  while  with 
Paolo  Veronese  the  architectural  motives  are  amplified,  and  indeed 
through  the  whole  of  the  seventeenth  century  they  are  continuously 
enriched  with  new  effects.  Apart  from  the  architectural  perspectives 
which  are  found  more  or  less  in  all  the  old  schools,  it  is  undeniable 
that  in  the  rest  of  Italy  the  early  painters,  with  rare  exceptions, 
were  little  given  to  reproducing  in  their  pictures  close  renderings  of 
the  cities  around  them.  It  was  not  the  older  men  of  the  new 
school — Luca  Carlevaris  di  Udine 
(1665-1718,  Fig.  148),  Michele 
Marieschi  (d.  1 743)  and  Antonio 
Visentini,  (1688-1782),  all  of 
whom  worked  with  the  needle  as 
well  as  with  the  brush — who  have 
gained  the  most  celebrity,  although 
there  is  much  freedom  and  charm 
in  their  work.  Their  fame  has 
been  obscured  by  that  wonderful 
triad — Canal,  Guardi,  and  Bellotto. 

Antonio  Canal,  known  as  Cana- 
letto  (1697-1768),  the  son  of  a 
certain  Bernardo,  a  scene  painter, 
devoted  himself  from  his  early 
youth  to  landscape  and  perspective. 
He  went  to  Rome  and  there  drew 
the  monuments  of  antiquity,  but  on 
his  return  to  Venice  he  applied 
himself  hand  and  soul  to  the  rendering  of  all  that  was  beautiful 
and  picturesque  in  the  city,  showing  it  in  those  changing  lights, 
peculiar  to  Venice,  in  which  the  water  reflects  and  fuses  the 
colours  of  the  works  of  man  and  of  nature.  The  two  pictures  by 
him  in  the  Casa  Sormani  in  Milan  (Fig.  149)  and  the  Scuola  di 

89 


FIG.    147. — THE   DANCING-MASTER, 
(p.    LONGHI.) 

Accademia,  Venice.     (Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


ilG.    14S. 


-VIEW    OF    VENICE.       (l.    CARLEVARIS.) 

National  Gallery,  Rome. 


San  Rocco  in   the   London   National   Gallery,   would   suffice   to 
establish  the  fame   of    any  painter.      The   brilliant  sunshine,  the 

delicate   clouds,    and    the 

light  shadows  of  his  pic- 
tures, are  absolutely  true 
to  nature. 

Francesco  Guardi 
(1712-1  793),  on  the  other 
hand,  had  a  personal  note 
all  his  own,  an  opales- 
cent quality  comparable  to 
mother-of-pearl.  Every- 
thing under  his  brush  be- 
comes iridescent  and  ani- 
mated (Fig.  1 50).  He  did 
not  need  the  accuracy  of 
Canal,  nor  the  still  greater  precision  of  Bellotto  to  ensure  his  mastery. 
Light  mists,  dark  storm-clouds  behind  buildings  glancing  in  the 
sunlight,  figures  lost  in  obscurity  or  emphasised  by  rays  of  light,  all 
these  impart  an  enchanting  variety  to  his  pictures.  He  did  not 
hesitate  to  illuminate  only  two  or  three  arches  of  a  long  portico,  or 
to  light  up  one  single  angle  of  a  palace,  just  as  if  the  position  of  his 
shadows  was  determined  by  the  changing  clouds  rather  than  by  the 

surrounding  build- 
ings. To  opaque 
gold  succeed  tints 
of  silver,  to  these  a 
series  of  iridescent 
hues,  so  that  his 
work  takes  on  the 
air  of  some  product 
of  the  ocean,  such 
as  sea-shells.  His 
little  figures — his 
macchiette — are 
large  in  style,  their 
cloaks  flutter  in  the 
wind,  and  the  ob- 
lique lines  of  their 
bodies  are  full  of 
elegance,  superior  indeed  to  those  of  all  other  painters  in  this 
genre. 

90 


FIG.    149. — AN   AMBASSADOR   GOING   TO   A    FIRST   AUDIENCE 
AT   THE    doge's    PALACE.       (CANALETTO.) 

Palazzo  Sormani,  Milan. 


VENICE 


Bernardo  Bellotto  (1720-1780)  stands  on  a  lower  level  than 
Canal  or  Guardi,  but  is  nevertheless  a  most  able  artist ;  indeed,  as  a 
painter  of  perspective  views  he  is  stronger  and  more  accurate  than 
they,  but  for  that  very  reason  he  does  not  equal  them  in  poetical 
feeHng.  His  architecture  is  drawn  with  rigorous  attention  (Fig.  151): 
every  column  and  pilaster  is  accurately  outlined  in  vivid  light,  and 
this  exactness  extends  even  to  the  distant  buildings,  sacrificing  much 
of  the  transparence  that  we  find  in  Canal.  As  to  his  figures,  they 
are  rendered  with  a  rich,  frank  and  straightforward  touch. 

To  sum  up,  Bellotto's  perspectives  are  graphic.  Canal's  atmospheric 
and  Guardi's  emotional. 

The  success  of  their  works  incited  many  imitators ;   thus  there  was 
an     abundant     production 
that    in    time    degenerated 
to  a  mechanical  output  of 
the  poorest  description. 

In  his  fanciful  landscapes 
and  seapieces  Marco  Ricci 
(1676-1729),  the  nephew 
of  Sebastiano,  showed  some 
originality,  and  later  on 
Francesco  Zuccarelli 
(1704-1788)  met  with  the 
favour  of  the  public.  Zuc- 
carelli was  by  birth  a  Tus- 
can who  learned  his  art  at 
Venice,  whence  he  passed 
on  to  London,  where  his  fresh  and  transparent  landscapes  with 
elegant  figures  in  the  French  style  gained  him  a  fortune.  Here  he 
found  a  ready  sale  for  his  pictures,  and  sometimes  for  those  of 
Bellotto  and  others.  Giuseppe  Zais  (d.  1 784)  was  a  follower 
of  his  and,  even  in  the  nineteenth  century,  Canaletto  had  a  last 
disciple  in  Ippohto  Caffi  (1809-1866),  who  was  killed  at  the  battle 
of  Lissa. 

Venice  produced  other  fine  spirits  who  learnt  their  art  in  the 
school  of  architectural  landscape  of  the  city.  For  example,  Gian 
Battista  Piranesi  (1720-1778),  who  left  his  native  land  to  seek  his 
fortune  in  Rome.  There  he  became  famous  as  an  engraver,  and 
he  has  left  us  a  series  of  plates  in  which  the  mighty  remains  of 
Roman  antiquity  are  rendered  with  surprising  strength  and 
profundity. 

Marco  Pitteri  (1703-1786)  was  a  distinguished  etcher,  whose 

91 


FIG.    150. — GRAND    CANAL,    VENICE.       (f.    GOARDI.) 

Galler>',  Milan.     (Pholo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


— PIAZZETTA,    VENICE.       (bELLOTTO.) 

National  Gallery,  Rome. 


needle  gave  spirit  and  life  to  the  works  even  of  mediocre  men ; 
he  also  etched  heads  after  Piazzetta.  There  was,  further,  at  the 
time  in  Venice  a  whole  school  of  talented  engravers  from  whom 

the  Florentine  Bartolozzi 
learnt  much  before  his  de- 
parture for  London ;  this 
school  produced  Teodoro 
Viero  (1740-1800)  and 
Giovanni  Volpato  (1733- 
1803),  both  from  Bassano, 
as  well  as  other  masters. 
Francesco  Novelli  (1776- 
1 836)  is  notable  for  the  study 
he  devoted  to  the  works  of 
Mantegna  and  of  Rembrandt, 
whose  engravings  he  imitated 
and  copied  very  cleverly. 
Finally,  as  an  engraver,  An- 
tonio Maria  Zanetti  (1  720-1  778)  was  something  a  good  deal  better 
than  the  amateur  that  he  held  himself  to  be.  A  man  of  the  most 
refined  taste,  he  holds  a  supreme  position  as  a  critic  of  Venetian 
painting. 

But  the  commanding  genius  of  the  Venetian,  nay,  of  the  Italian 
eighteenth  century,  the  genius  in  whom  the  great  art  of  Venice 
seems  to  be  summed  up  and  to  give  forth  its  dying  radiance,  was 
Gian  Battista  Tiepolo  (1693-1770).  As  a  colourist  he  derives 
from  Paolo  Veronese ;  the  boldness  of  his  chiaroscuro  he  learnt 
from  Piazzetta  ;  the  type  of  his  decorative  conception  may  be  found 
already  in  the  wall  painters  and  the  decorative  artists  of  the 
seventeenth  and  the  beginning  of  his  own  century,  in  some  of  the 
Venetians  we  have  already  mentioned,  and  in  Andrea  Pozzo  of 
Trent  (1642-1709)  who  in  the  perspective  treatment  of  his  archi- 
tectural and  figure  subjects  attains  to  an  extraordinarily  high  level. 
But  all  this  was  amplified  by  Tiepolo,  and  handled  with  a  taste  and 
a  vivacity  that  was  peculiar  to  him,  although,  no  doubt,  he  was 
influenced  by  the  striking  effects  produced  by  the  so-called  theatrical 
machinery  so  marvellous  in  his  time.  He  possessed  a  prodigious 
rapidity  of  imagination  and  of  execution,  as  well  as  the  rare  faculty 
of  conceiving  his  composition  at  once  as  a  pictorial  effect.  The 
conception,  to  put  it  briefly,  was  not  in  his  case  at  the  beginning  a 
purely  intellectual  one,  which  had  to  receive  material  clothing 
by  means  of  careful  research,  but  it  sprang  up  complete  in  his  brain 

92 


VENICE 


as  a  plastic  representation.  Hence  arises  his  amazing  facility  in 
creating  stupendous  contrasts  of  light  and  shade,  of  subdued  and 
lively  tones,  contrasts  that  appear,  and  indeed  are  in  his  case, 
spontaneous,  instinctively  felt  and  immediate,  and  w^hich  sometimes 
suffice  to  give  a  dramatic  sentiment  to  the  action.  His  fascinating 
colour  is  another  of  his  great  qualities.  The  colour  of  Paolo  (which 
impressed  him  more  than  any  other)  is  clearer,  and  his  lighting  is 
more  diffused  and  equal ;  but  Tiepolo  strengthened  his  by  means  of 
contrasts.  What  he  effected  vv^ith  the  aid  of  chiaroscuro  he  effected 
by  colour  also.  It  is  the  same  process  and  the  same  system  of  con- 
trasts. The  energy  given  to  the  high  lights  by  alternation  vv^ith 
shadow^s  is  won  for  the  vivid  tints  by  the  juxtaposition  of  low  and 
subdued  tones. 

The  amount  of  work  accomplished  by  Tiepolo  is  prodigious. 
He  decorated  villas,  palaces,  and  churches ;  he  painted  altar-pieces 
and  cabinet  pictures.  He  was  equally 
at  home  with  sacred  (Figs.  I  52,  I  53), 
historical,  allegorical,  mythological,  or 
humorous  subjects.  He  was  in  request 
with  the  rulers  of  the  whole  of  Europe ; 
it  was  as  if  his  contemporaries  had  a 
presentiment  that  Tiepolo  was  the  last 
of  the  great  men,  and  were  therefore 
eager  to  secure  some  example  of  his 
work.  From  Venice  and  from  the 
Venetian  territory  he  passed  to  Wiirz- 
burg,  from  Milan  to  Madrid,  where, 
pitted  against  the  new  classicism  of 
Raphael  Mengs,  he  secured  the  last 
triumph  of  Baroque  art. 

And  thus  the  splendour  of  his  paint- 
ing illuminates  the  last  days  of  Venice, 
already  sinking  to  decay,  and  seems  to 
console  her  noble  pride  with  a  final  ray 
of  splendour.  And  thus  death  comes 
upon  her  still  bathed  in  light,  and  her 
political  destiny  seems  to  follow  her 
with  steady  breath.  Then  follow  decay 
and  solitude,  with  the  wrack  of  the  sea  upon  every  step  and  with 
grey  lichen  upon  the  statues  and  the  walls ;  to  quote  the  words 
of  Alfred  Meissner,  every  sound  is  now  a  sigh  and  a  groan 
repressed  over  the  whole  expanse  of  the  sea ;    but  "  her  treasures 

93 


FIG.    152. — VIRGIN    ENTHRONED 
\VITH    SAINTS.       (tiepolo.) 

Church  of  the  Oesuati,  X'cnice. 
(Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 

of  art  live  for  ever,  and  her  palaces  still  shine  like  gigantic  sheets  of 
silver  inscribed  with  many  a  heroic  deed." 


After  the  death  of  Tiepolo,  his  joyous  and  ardent  visions 
gradually  lost  their  vigour  in  the  hands  of  his  imitators.  And  now^ 
the  phalanx  of  the  classicists,  urged  on  by  Raphael  Mengs  (who, 
unabashed  by  his  defeat  at  Madrid,  was  thirsting  for  revenge),  and 
upheld  by  the  criticism  of  Winkelmann  and  the  art  of  David,  of 
Battoni,  and  of  Appiani,  proclaimed  the  necessity  of  a  return  to  the 
antique.  Confronted  by  this  well-trained  army,  the  old  school  of 
decorative  artists  threw  down  their  arms  and  fled. 

Yet,  even  so,  it  was  from  the  Venetian  territory  that  there  came 
a  great  artist,  indeed  the  greatest  at  the  time  in  all  Italy — Antonio 
Canova.  He  was  born  at  Possagno  in  1757  of  a  family  of  artists, 
and  died  at  Venice  in  1 822  ;  by  his  contemporaries  he  was  saluted  as 
"the  prince  of  sculpture  and  the  reformer  of  the  arts."  And  what- 
ever may  be  the  judgment  that  modern  artists  pronounce  upon  him, 

it  is,  and  always  will  be,  a 
fact  that  in  style  and  in 
execution  he  made  an  im- 
portant advance  upon  his 
predecessors.  The  im- 
pression made  by  the 
sepulchral  monuments  of 
Clement  XIII  (Carlo  Rez- 
zonico),  and  of  Clement 
XIV  (Lorenzo  Gangan- 
elli)  was  such  as  to  in- 
augurate a  new  artistic 
era.  Canova  was  left  an 
orphan  when  three  years 
old,  but  he  found  protec- 
tors who  supported  him 
during  his  studies.  His 
first  attempts  at  sculpture  procured  him  not  only  appreciation,  but 
new  patrons.  Henceforth  fortune  favoured  him ;  sovereigns  and 
Popes  overwhelmed  him  with  commissions,  with  gold,  and  with 
honours  ;   poets  proclaimed  him  divine  (Fig.  I  55). 

An  Academy  of  the  Fine  Arts  founded  at  Venice  in  the  first  half 
of   the  eighteenth   century,   was   strengthened   first  under   the   rule 

94 


FIG.    153. — CHRIST   BEARING    HIS    CROSS.       (tIEPOLO.) 

Church  of  S.  Alvise,  Venice.       {Photo.  Alinari.) 


VENICE 


1^ 

1 

^ 

f 

'^H 

m^A- 

f  ' 

j^^H 

wf' '^■/^    "' 

^M 

1 

of  Napoleon  and  under  that  of  Austria,  and  acquired  an  authority 
that  may  be  called  official.  From  the  modest  pallazzina  by  S. 
Moise  (now  the  office  of  the  harbour  master)  it  passed  to  the  great 
buildings  of  the  Carita  brotherhood ;  these  were  altered  and 
enlarged  with  new  rooms  to  allow  of  the  exhibition  of  pictures 
taken  from  the  churches  and  from  the  Scuole.  Under  the 
presidency  of  Leopoldo  Cicognara 
the  Academy  took  upon  itself  the 
work  of  teaching,  profiting  by  the 
collection  of  casts  that  had  been 
brought  together  by  Farsetti  and 
purchased  by  Francis  II.  The  archi- 
tect Gian  Antonio  Selva  (1 753- 
1819),  the  painter  Teodoro  Mat- 
teini  (1754-1831),  who  came  from 
Tuscany  and  from  the  school  of 
Battoni,  the  sculptor  Angelo  Pizzi, 
were  the  artists  in  vogue  at  the 
moment.  But  this  movement  did 
not  last  long ;  it  was  a  phase  of  art 
that  had  no  spontaneous  birth  in 
harmony  with  the  prevailing  senti- 
ment of  society,  nor  had  it  any- 
thing in  common  with  the  political 
and  patriotic  life  of  the  day  ;  it  had 
its  origin  in  the  imitation  of  the 
antique,  and  its  prime  motive  was  to  put  an  end,  once  for  all,  to 
the  domination  of  the  Baroque,  a  style  which,  after  a  life  of  two 
centuries  and  a  half,  had  become  not  only  wearisome,  but  nauseous. 
In  fact,  before  the  expiration  of  forty  years  a  complete  change 
came  about.  Romanticism  triumphed  easily  over  the  cold  and 
mediocre  spirits  that  sought  warmth  amid  the  smouldering  ashes  of  the 
Academy.  And  again  it  was  Venice  which  in  this  new  period  gave 
to  Italian  art  its  most  eminent  and  powerful  artist,  Francesco  Hayez 
(1  791  -1 882),  a  painter  who  started  as  a  classicist,  but  soon  changed 
his  course,  yielding  to  the  current  with  a  facility  characteristic  of  an 
eager  and  malleable  nature.  In  1812  he  exhibited  his  Laocobn  at 
Milan  ;  eight  years  later  he  struck  out  a  new  path  with  his  Carmag- 
nola;  in  1823  with  his  Kiss  (Fig.  154)  he  definitely  adapted 
himself  to  the  new  current ;  this  work  is  a  prominent  example  of  that 
emotional  tumult,  the  expression  of  which  was  the  great  aim  of  the 
art  of  the  time.     Hayez,  however,  took  up  his  abode  at  Milan,  and 

95 


FIG.    154. — THE    KISS.       (f.    HAYEZ.) 

Museum  of  the  Castello,  Milan. 
{Photo.  Anderson.) 


ART  IN  NORTHERN  ITALY 


on  the  Lagoons  Romanticism  had  but  a  feeble  following,  so  that 
but  few  names  have  survived  of  the  scanty  phalanx. 

With  Antonio  Zona  (1810-1892)  and  with  Pompeo  Molmenti 
(1819-1894)  there  was  some  attempt  to  throw  off  Romanticism; 

but  the  attempt  was 
soon  abandoned, 
and  the  art  of  the 
day,  held  in  the 
traditional  bonds, 
remained  conven- 
tional, if  not  always 
in  the  choice  of  sub- 
ject, at  least  in  the 
way  the  subject  was 
felt  and  in  the  cold 
and  polished  tech- 
nique with  which  it 
was  handled.  But 
once  Venice  had 
regained  her  liber- 
ty, and  had  become 
united  in  spirit  with  the  life  of  the  rest  of  Italy,  her  artists  came  once 
more  to  see  with  independent  eyes  the  splendour  of  their  city,  the 
grace  and  the  strength  of  the  inhabitants ;  with  the  Veronese 
Vicenzo  Cabianca  ( 1 827- 1 902)  and  with  Giacomo  Favretto  ( 1 849- 
1887)  there  was  a  renewal  of  life,  splendour  and  truth.  Favretto 
(Fig.  1  56)  was  a  joyous  artist  with  something  of  the  spirit  of  Goldoni ; 
he  was  more  akin  to  the  painters  who  preceded  the  neo-classicists, 
to  Francesco  Guardi  in  particular,  than  might  appear  at  the  first 
glance. 

And  now  once  more  we  have  in  Venice  the  chief  centre  of 
pictorial  activity  that  Italy  can  boast,  a  fact  to  which  the  highly 
interesting  international  art  exhibitions  held  there  every  two  years 
bear  witness. 


FIG.   155. PAULINE  BORGHESE.      (CANOVA.) 

Borghese  Gallery,  Rome.     {Pholo.  Anderson.) 


BIBLIOGRAPHY  OF  CHAPTER  Vll 

Filippo  BsJdinucci,  yVo/i'xrie  di  professor!  del  disegno;  L.  Lanzi,  5/oria  piUorica  d'ltalia:  G. 
Rosini,  Storia  delta  piltura  iialiana ;  L.  Pascoli,  VUe  di  pittori,  scultori  e  architetti  modemi, 
Rome,  1  730  ;  G.  Baglione,  Le  vile  del  pittori,  scultori,  architetti  e  intagliatori,  Naples,  1 733  ;  V. 
Marchese,  Memorie  dei  pittori,  scultori  ed  architetti  domenicani,  Bologna,  1878-79;  J.  Meyer, 
Allgemeines  Kunstler-Lexicon,  iii ;  U.  Thieme  e  L.  Becker,  Allgemeines  Lexicon  der  bildenden 
Kiinstler,  i-iii :  J.  Burckhardt,  Cicerone,  ix  ed.;  A  Venturi,  La  Galleria  Crespi  in  Milano, 
Milan,  1 900 ;  C.  Ricci,  La  Pinacoteca  di  Brera ;  Fr.  MeJaguzzi  Calalogo  della  R.  Pinacoteca 
di  Brera ;  Hugo  Schmerber,  Betrachtungen  uber  die  italienische  Malerei  im  1 7,  Jahrhundert, 
Strasburg,  1906 ;  M.  Boschini,  Le  ricche  miniere  della  pitlura  oeneziana;  F.  Zanotto,  Pinacoteca 

96 


VENICE 

JeU'AccaJemia  oeneta  Jelle  Belle  Arti\  C.  Ridolfi,  Le  maraviglie  Jell'arte  ovoero  le  cite  Jegli 
illustri  pittori  Veneti  e  del  suo  stato :  P.  Selvatico  and  V.  Lazari,  Guida  arlislica  di  Venezia ;  P. 
Molmenti,  La  pilturi  veneziana;  P.  Molmenti,  Venezia;  A.  De  Gubernatis,  Dizionario  degll 
arlisti  Haliani  oioenti,  Florence,  1 892  ;  L.  Callari,  Storia  dell'arle  contemporanea  in  Italia, 
Rome,  1909 ;  A.  Colasand,  Fiftj)  Years  of  Italian  Art  in  the  Italian  Review,  1902 :  G.  Lafen- 
estre  and  E.  Richtemberger,  La  peinture  en  Europe,  Venise,  Paris,  n.  d.;  M.  de  Maslatrie. 
Testament  de  Dominique  Tintoretto  fils  et  eleve  du  Tintoret  in  Qazette  des  Beaux  Arts,  I ,  xix, 
569,  XX.  90 ;  P.  Lafond,  Domenicos  Theotokopouli,  dit  le  Greco  in  Les  Arts,  n.  58,  1906,  10; 
A.  Rossi,  Nuovi  acquisla  della  Galleria  Corsini — Due  quadri  di  Domenico  Theotokopuli  in  the 
Bollettinod'Artedel  Minist.  della  P.  I.,  1908,  307  ;  V.  Brocchi,  //  Padooanino  in  Atti  del  reale 
Islituto  venelo  di  scienze,  lettere  ed  arti,  i  899,  1 900 :  Laura  Pittoni,  Dei  Pittoni,  artisti  oeneti, 
Bergamo,  1 907  ;  Gino  Fogolari,  Opere  di  Sebastiano  Ricci  e  di  G.  B.  Pittoni  ricuperate  dalle  R. 
Galkrie  di  Venezia  in  the  Boll.  d'A  rle  del  Minist.  della  P.  I. ,  1 907,  n.  7  p.  3  ;  A.  De  Sagredo, 
SuU'arte  e  sul  pittore  Giovanni  Contarini,  Venice,  1841  ;  Vittorio  Malamani,  Rosalha  Carriera 
in  the  Qallerie  nazionali  italiane,  iv,  Rome,  1 899 ;  E.  Masi,  Carlo  Goldoni  e  Pietro  Longhi  in 
ihe  Studi  sulla  storia  del  teatro  italiano  nel  sec.  xviii,  Florence,  1891  ;  Ugo  Monneret  de  Villard, 
Note  su  Pietro  Longhi  in  Emporium,  xxi,  1905  ;  Aldo  Rava,  Pietro  Longhi,  Bergamo,  1909  ;  A. 
Moureau,  Antonio  Canal  dit  le  Canaletto,  Paris,  1894  ;  O.  Uzanne,  Les  Canaletto,  Paris,  n.  d.; 
G.  H.  Simonson,  Francesco  Quardi,  Lx>ndon,  1 905  :  G.  H.  Simonson,  Francesco  Guardi  in 
Monatsh^te  fiir  Kunstw.,  i,  Leipsic,  1908;  Paolo  Schubring,  Guardi  in  Sitzungshericht,  vi, 
1902,  der  Berliner  Kunstgeschichtlichen  Gesellschaft:  Gino  Fogolari,  Michele  Marieschi  in  the 
Bollettino  d'Arte,]u\y,  1909  ;  Mostra  tiepolesca  in  Venezia,  Catalogo  delle  opere  espoi/e,  Venezia, 
1 896  ;  P.  Molmenti,  //  Carpaccio  e  il  Tiepolo,  Turin,  1 886 ;  C.  Caversazzi,  Di  alcuni  dipinti  di 
G.  B.  Tiepolo  in  Emporium,  ix,  Bergamo,  1899  ;  H.  Modem,  Giovanni  Battista  Ttepo/o,  Vienna, 
1 902 :  E.  Sack,  Giambattista  und  Domenico  Tiepolo,  Hamburg,  1 909 ;  P.  Molmenti,  C.  B. 
Tiepolo,  Milan,  1909  ;  G.  Fogolari,  Domenico  Pellegrini  in  L'Arte,  1909  ;  A.  d'Este,  Memorie  di 
Antonio  Canooa,  Florence,  1864;  Cicognara,  Storia  della  Scultura,  iii ;  P.  Molmenti,  Glacomo 
Favretto.  Rome,  1895. 


tlO.  156. — PROMENADE  IN  THE  PIAZZETTA.      (g.    FAVKETTO.) 

Gallery  of  Modern  Art,  Venice. 


97 


FIG.    157.— ADORATION   OF   THE  MAGI.      (mANTF.GNA.) 

UflSzi,  Florence.     (Photo.  Jacquirer.) 


CHAPTER   VIII 
PADUA  AND  MANTUA 

Padua,  a  seat  of  learning  in  the  Middle  Ages. — Giotto  and  the  Chapel  of  the  Arena. — 
Venetian  Artists  at  Padua. — Guarienlo. — Squarcione  and  his  School. — Mantegna. — 
Donatella  and  his  Disciples  at  Padua. — Mantegna  at  Mantua. —  The  Gonzaga. — 
Giulio  Romano  and  the  Palazzo  del  Te. 

Padua,  one  of  the  most  important  Roman  cities  of  Upper  Italy, 
which  came  under  the  dominion  of  Venice  in  1405,  had  been  more 
than  once  sacked  and  laid  in  ruins  during  the  barbarian  invasion. 
In  the  later  Middle  Ages  it  had  been  celebrated  for  its  University, 
founded  in  1222,  and  as  the  seat  of  the  Carrara  family,  but  had 
never  produced  any  really  great  artist.  Andrea  Mantegna, 
however,  came  from  the  adjacent  territory,  and  Padua,  like  Rome, 
provided  for  its  own  embellishment  and  decoration  by  summoning 
from  time  to  time  architects,  painters,  and  sculptors  from  other 
districts,  thus  adorning  itself  with  masterpieces  which  exercised 
a  favourable  and  lasting  influence  over  a  wide  tract  of  surrounding 
country  (Fig.  158). 

Here,  at  the  beginning  of  the  fourteenth  century,  we  find  Giotto, 
who,  on  the  invitation  of  Enrico  Scrovegni,  decorated  the  chapel  of 
Santa  Maria  della  Carita,  known  also  as  the  Arena,  because  it  was 
built  within  the  circuit  of  the  ancient  Roman  Ampitheatre. 
About  the  year  1376,  two  other  most  notable  painters  were  working 
at  Padua — one,  Altichiero,  from  Verona,  and  the  other  Avanzo, 
probably  from  Vicenza.     These  men  were  not  content  to  repeat  the 

98 


PADUA  AND  MANTUA 


FIG.    158. — BASILICA    OF    S.    ANTONIO,    PADUA. 

{Photo.  Alinari.) 


forms  of  others,  but  sought  for  new  ones  in  the  direct  examination 

of  actuahty.     Towards  the  middle  of  the  following  century,  we  find 

also  the  famous  Florentine 

painters,     Paolo    Uccello     [^ 

and  Fra'   Filippo  Lippi,     •• 

at  Padua,  and  finally  the 

great  Donatello,  who  left 

there   such   works   as   the 

equestrian  statue  of  Gat- 

tamelata  (Fig.    160)  and 

the  altar  of  S.  Antonio, 

marvellous  creations, 

which,    on   the   Venetian 

soil,    became    the    fertile 

source  of  new  ideas  and 

new  forms  of  art. 

After  this  time,  it  was 

almost    exclusively    from 

Venice  that  Padua  drew  the  artists  she  needed — from  the  Lombardi 

to  Sansovino,  and  from  Titian  to  Tiepolo. 

Meantime,   let  us  note  that  in  Guariento   Padua  had   an  artist 

who,  however  much  he  might  delight  in  the  study  of  the  works  of 

Giotto,  was  not  bound  to  his  style, 
but  retained  the  more  sumptuous 
Byzantine-Gothic  manner  of  his 
predecessors  (Fig.  1 59).  And  it 
was  this,  no  doubt,  that  must  have 
appealed  to  the  Venetians  who 
summoned  him  to  Venice  to  paint 
in  the  palace  of  the  Doges  some 
historical  subjects,  and  the  Paradise, 
works  which  all  exercised  a  certain 
influence  upon  the  local  painters  for 
some  years.  Immediately  after  the 
time  of  Guariento,  whose  latest  work 
of  certain  date  was  painted  in  the 
year  1365,  a  numerous  group  of 
artists,  some  natives  and  some  from 
other  parts  of  Italy,  adorned  Padua 
with  important  works  of  art. 
The  Paduan  School,  however,  was  that  of  Francesco  Squarcione 

(1397-1468).     We  know    of    only    two    pictures    that    can    be 

99  h2 


fig.  159. — the  heavenly  host. 

(guariento.) 

Museo  Civico,  Padua.    {Photo.  .Alinari.) 


ART  IN  NORTHERN  ITALY 


FIG.  l6o.- 


-monument  to  gattamelata. 
(donatello.) 
Padua. 


attributed  to  this  artist  with  certainty  ;   these  are  the  Madonna  and 
Child  in  the  Gallery  at  Berlin  (Fig.  163),  and  the  polyptych  in  the 

museum  at  Padua  (Fig.  161);  in 
these  pictures,  executed  between 
1449  and  1452,  the  forms  are 
certainly  rude  and  hard,  but  there 
is  a  certain  originality  in  the  pose 
of  the  figures  (this  is  especially  the 
case  in  the  S.  Anthony  of  the 
Paduan  altarpiece),  and  the  scene 
is  enriched  with  architectural 
motives,  marbles,  candelabra,  fes- 
toons, foliage,  and  fruit — in  fact  with 
all  those  decorative  elements  which 
were  amplified  and  embellished  in 
the  hands  of  his  pupils. 

For,  if  his  work  as  an  artist  was 
second-rate,  Squarcione's  influence 
upon  an  immense  number  of  pupils 
from  many  parts  of  Italy  was  of 
the  utmost  importance.  In  this 
there  is  nothing  to  excite  our 
wonder.  Who  has  not  observed  that  the  didactic  spirit  is  often 
unaccompanied  by  any  great  artistic  capacity — that  artists  of  the 
highest  distinction  may  fail  as  teachers,  while  second-rate  artists 
may  excel  ? 

From  precious  documents,  lately  come  to  light,  we  have  proof  that 
what  Squarcione  organised  was  something  more  than  a  mere  work- 
shop ;  it  was  rather  a  kind  of  academy,  rich  in  examples  of  ancient 
and  modern  art  and  in  casts.  The  master  had  collected  these  in 
his  travels,  incited  by  his  special  love  for  the  antique  and  by  his 
intercourse  with  the  Humanists  among  whom  he  had  been  brought 
up.  Nor,  apart  from  this,  need  we  be  surprised  to  find  that  at  this 
happy  period  of  Italian  art,  among  the  hundred  and  thirty-seven 
pupils  who  are  said  to  have  passed  through  the  school  of  Squarcione, 
there  were  artists  of  merit  and  one  who  was  supreme.  Indeed,  the 
school  of  Padua  had  a  development  comparable  to  that  founded  fifty 
years  later  by  Giovanni  Bellini,  and  its  branches  extended  as  far  as 
Ferrara  and  Brescia. 

My  readers  will  of  course  have  understood  that  the  supreme 
artist  was  Andrea  Mantegna.  Mantegna  was  born,  it  would  seem, 
in  1 43 1  at  Isola  di  Cartura,  on  the  Brenta,  and  he  died  at  Mantua 

100 


PADUA  AND  MANTUA 


FIG.    l6l. S.    JEROME   AND    OTHER   SAINTS. 

(fr.    SQUARCIONE.) 
Museo  Civico,  Padua. 


in  1  506.     Although  Isola  was  at  that  time  annexed  to  the  territory  of 

Vicenza  (it  is  now  in  the  province  of  Padua),  Mantegna  nevertheless 

called  and  signed  himself 

"Padooano, "  and  as  such 

we  may  accept  him.     For 

some    time    the    favourite 

pupil   of   Squarcione,    he 

felt    himself    inspired    by 

that  same  activity  which 

inspired  his  fellow-pupils. 

Among  these,  it  may  be 

well    to   note,   were 

Giorgio   Schiavone   (Fig. 

162),   bom  at  Sebenico, 

Bernardo     Parentino,     or 

Parenzano,   a  painter 

whose  artistic  personality 

has    been    more    sharply 

defined  since  certain  pictures  formerly  attributed  to  Ercole  Roberti 

have  been  assigned  to  him,  and  the  Ferrara-Bologna  group,  which 

included  Marco  Zoppo,  Bono, 
Cosme  Tura,  and  others  of  whom 
I  shall  speak  in  due  course,  ex- 
cluding from  the  group  Ansuino 
da  Forli,  whom  a  natural  bent  led 
rather  to  imitate  the  artists  of 
Florence  (Fig.  165). 

A  favourable  influence  was  ex- 
ercised over  Mantegna  by  Niccolo 
Pizzolo,  his  senior  by  ten  years, 
born  at  Villa  Ganzerla  in  the 
province  of  Vicenza.  It  is  prob- 
able that  Pizzolo  also  was  a  pupil 
of  Squarcione,  but  his  collabora- 
tion with  Donatello  for  the  bronzes 
of  the  altar  of  S.  Antonio  gave 
him  an  opportunity  of  acquiring 
strength  and  breadth  of  style. 
Greater  illumination  came  to 
Mantegna   from   Jacopo   Bellini ; 

while  still  a  youth,  he  married  the  daughter  of  that  master,  thus 

drawing  near  to  the  radiant  centre  of  the  Bellini  family. 

101 


no.    162. — VIRGIN   AND   CHILD. 

(schiavone.) 
Gallery,  Turin.     (Photo.  Anderson.') 


ART  IN  NORTHERN  ITALY 


IIG.    163.— VIRGIN   AND    CHILD. 
(fr.    SQUARCIONE.) 
Museum,  Berlin. 


But  the  man  who  exercised  the 
chief  and  the  most  direct  influence 
upon  him  was  Donatello,  an  artist 
who,  more  than  even  Paolo  Uccello 
and  Fihppo  Lippi,  suggested  ele- 
ments of  grandeur  and  intensity  of 
feeling,  hitherto  foreign  to  the  quiet 
and  modest  art  of  Padua.  It  was 
in  the  work  of  Donatello  that 
Mantegna  recognised  the  realisation 
of  those  ideals  of  truth  and  beauty 
that  had  smiled  upon  him  as  an 
unattainable  dream.  And  in  Dona- 
tello he  found  a  loving,  enlightened 
and  free  observation  of  nature  inti- 
mately connected  with  the  cult  of 
classical  art  (Figs.  157  and  167). 
It  was  in  the  Chapel  of  the  Eremitani  at  Padua  that  Mantegna, 

in  competition  with  other  artists  of   the  school,  gave  the  first  great 

evidences  of  his  power ;  it  was  an  undertaking  which  left  him,  at 

the    age    of    twenty-one,  not  only 

triumphant  but  famous  (Fig.   164). 
His     knowledge     of     technical 

processes    and    of    form    were    the 

means    by    which    he    arrived    at 

truth    and    at    the    expression    of 

emotion,   just  as  the   study  of   the 

antique    and    of    Donatello    were 

the   means  by  which   he   attained 

to    that    grandeur    which    he    felt 

in    his    soul,    and    to    which    he 

already    sought     to     give    expres- 
sion.    But  he  did  not  stop   there. 

He  spurred  himself  on  by  a  firm 

grasp   of   the   laws   of   perspective, 

which    he    applied   not    to    archi- 
tecture only,  but  also  to  the  human 

figure,    and    this    with    a    mastery 

and   a  vigour  new  to  art.     They 

emboldened   him   to  venture   upon 

such  a  daring  essay  in   foreshortening  as  the  Dead  Christ  in  the 

Brera  (Fig.  168). 

102 


FIO.     1^4. — S.    JAMES    BEFORE    THE 
EMPEROR.       (mantegna.) 

Church  of  the  Eremitani,  Padua. 
{Photo.  Alinari.) 


PADUA  AND  MANTUA 


^ 

# 

if- . 

V:_ 

1 

.^4 

0 

FIG.    165. — THE    PREACHING    OF 
CHRISTOPHER.       (ANSUINO     DA     FORLI.) 

Church  of  the  Eremitani,  Padua. 
(Pliolo.  Alinari.) 


Always  conscientious  and  accurate  in  his  execution,  if  his  colour 

fell  short  of  that  of  Giovanni  Bellini  in  intensity  and  in  the  fusion 

of  tints,  it  was,  nevertheless,  strong 

and  harmonious.     But  it  is  above 

all  by  the  severity  of  his  style,  the 

varied  and  vital  grandeur  of  his 

composition,  the  science  of  his  per- 
spective in  all  its  applications,  and 

his  energy  both  of  expression  and 

form, that  Mantegna  takes  his  place 

as  an  artist  of  unsurpassed  origi- 
nality. 

Mantegna  entered    the   service 

of    the    Gonzaga    of    Mantua    in 

1459. 
Padua,  however,     retained,   in 

addition  to  various  minor  painters 

of  the  school  of  Squarcione,  several 

good  sculptors,  followers  of  Dona- 

tello.     Among  these  a  prominent 

position    was    held    by    Bellano 

(I435?-I497?),   in   his   turn   the 

master  of  Andrea  Briosco,  known  as  Riccio  (1470-1  532),  to  whom 

we  are  indebted  for  some  admirable  work  in  bronze,  notably  the 

candelabrum  in  the  Church 
of  S.  Antonio  (Fig.  169). 
There  was  another  sculptor 
of  the  school  of  Donatello 
who  was  probably  also  a 
pupil  of  Bellano.  This  was 
Giovanni  Minello  de'  Bardi 
(1460?- 1527).  many  of 
whose  terracotta  figures 
and  rich  marble  friezes 
have  survived. 

Again,  about  the  middle 
of  the  sixteenth  century  we 
find  in  Padua  a  numerous 
band  of  painters  ;  but  near- 
ly all  of  these  were  pupils 

or  imitators  of  Titian,  who,  indeed,  had  endowed  the  town  with 

magnificent  examples  of  his  art  in  the  frescoes  of  the  Scuola  di 

103 


FIC.     166. — PORTRAITS    OF    THE    GONZAGA  ;     CAMERA 
DEGLI    SPOSI,    MANTUA.       (MANTEGNA.) 

(Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


fig.  167. — s.  george. 

(mantegna.) 

Accademia,  Venice. 


S.  Antonio  and  of  the  Carmini.  We  must 
also  class  as  a  follower  of  Titian,  Domenico 
Campagnola  (1482-1  550).  The  tradition 
of  the  school  of  Titian  endured  for  a  con- 
siderable time  in  Padua,  carried  on  by 
Padovanino  and  by  others  who  have  been 
already  mentioned  (pp.  82,  83). 

A  few  passable  disciples  were  trained  by 
Padovanino  at  Padua  ;  but  instead  of  re- 
viving a  series  of  almost  forgotten  names, 
we  may,  after  mentioning  Andrea  da  Valle, 
a  good  Istrian  architect  working  at  Padua 
between  I  533  and  1  566,  follow  in  the  steps 
of  Mantegna,  who  now  entered  the  service 
of  the  Marquis  Ludovico  Gonzaga  at 
Mantua,  visiting  from  time  to  time  Verona, 
Florence,  and  Rome,  and  carrying  out 
various  works  in  these  and  other  towns. 

In  1474,  then  (the  year  in  which  Isa- 
bella d'Este  was  born),  he  undertook  the 
decoration  of  the  Camera  degli  Sposi,  in 
the  Castle  of  Mantua  (Fig.  1  75),  a  marvel  for  the  beauty  of  its 
decorations  in  grisaille,  for  the  results  attained  by  the  perspective, 

and  for  the  expression  of 
the  numerous  portraits 
(^Fig.  166).  At  a  later 
date  he  worked  in  the 
Palazzo  di  S.  Sebastiano, 
where  he  painted  the  series 
of  the  Triumphs  of  Caesar, 
that  miracle  of  renewed 
classical  grandeur  now  at 
Hampton  Court.  Mantua 
had  by  this  time  become 
an  important  centre  of 
artistic  life,  thanks  to  her 
own  efforts  and  to  the  zeal 
of  Isabella  d'Este,  who 
had  come  there  in  1 490  as 
the  bride  of  Francesco 
Gonzaga,  and  had  been  received  with  enthusiasm  by  the  citizens 
and  by  thousands  of  foreigners.     She  was  a  keen  lover  of  the  arts, 

104 


FIG.    168. DEAD    CHRIST.       (MANTEGNA.) 

Brera,  Milan.     {Photo.  Alinari.) 


PADUA  AND  MANTUA 


and  wrote  letter  upon  letter  giving  commissions 
for  her  collections,  which  included  pictures  and 
sculpture  by  distinguished  artists,  ceramics,  musi- 
cal instruments,  books,  medals,  engravings,  and 
jewels.  As  a  consequence,  painters,  sculptors, 
architects,  makers  of  instruments,  musicians, 
hurried  to  Mantua  to  seek  her  patronage. 
Having  received  as  a  gift  from  the  Duke 
Valentino  Michelangelo's  Cupid,  Isabella  pro- 
cured an  antique  Cupid  as  a  companion  piece. 
She  maintained  relations  with  Giovanni  Bellini, 
with  Leonardo  da  Vinci,  with  Buonarroti,  and 
in  1  524,  at  her  suggestion,  Baldassarre  Castiglione 
brought  Giulio  Romano  to  Mantua. 

But  by  this  time  Mantegna  had  been  dead 
for  eighteen  years,  and  his  disciples  had  either 
followed  him  to  the  grave  or  adopted  new 
styles  of  art.  Among  those  who  for  a  time  fell 
under  the  influence  of  Mantegna  we  may  note 
Girolamo  da  Cremona,  Domenico  Morone,  Fran- 
cesco Morone,  Francesco  Verla,  Francesco  Bon- 
signori,  Liberale  da  Verona,  Gian  Francesco 
Caroto,  and  Lorenzo  Liombruno  (1489-1  537  ?), 


FIG.  169. — BRONZE 
CANDELABRDM. 

Basilica  of  S.  Antonio, 

Padua. 

{Photo.  Alinari.) 


FIG.   170. — CHURCH  OF  S.  ANDREA,  MANTUA. 
(LEON  BATTISTA    ALBERTI.) 

{Photo.  Alinari.) 


an  artist  of  decided  merit,  whose 
spirited  hand  has  of  late  been  recog- 
nised in  many  works  that  show  the 
influence  both  of  Mantegna  and  of 
Costa  (Fig.  171). 

Mantegna  was  succeeded  in 
Mantua  as  Court  painter  by 
Lorenzo  Costa,  the  elder,  who 
had  had  to  leave  Bologna  on  the 
occasion  of  the  expulsion  from 
that  town  of  the  Bentivoglio  family. 
It  is  somewhat  difficult  to  picture 
the  worthy  Costa,  so  sedate  and 
careful  in  his  work,  as  a  successor 
to  the  imposing  figure  of  Mantegna. 
Nevertheless  here  at  Mantua,  where, 

Eerhaps,  his  courtly  manners  found 
im  favour,  he  worked  with  calm 
and  dignity,  and  here  he  tranquilly 
105 


ART  IN  NORTHERN  ITALY 


FIG.    171. — JUDGMENT  OF  MIDAS. 
(LIOMBRUNO.) 

Gallery,  Berlin. 


ended  his  days,  although  after  the  appearance  of  Giulio  Romano 
with  his  modem  manner,  he  must  have  seen  his  own  works  neglected 

and   his  pupils  leaving  him  to   adopt 
more  expeditious  methods. 

Francesco  Gonzaga  died  in  1519, 
and  was  succeeded  by  Federico  II., 
who  received  the  ducal  title  from 
Charles  V.  in  the  year  that  the  latter 
was  crowned  emperor  at  Bologna  by 
Clement  VII.  The  death  of  Federico 
occurred  in  I  540,  or  only  a  year  after 
that  of  his  mother,  Isabella,  who  had 
been  during  his  reign,  as  during  that  of 
his  predecessor,  the  dominating  artistic 
spirit  of  the  court.  The  Palazzo  del 
Te  (Figs.  I  72,  I  73)  is  the  most  glorious 
relic  of  his  rule.  It  was  built  between 
1 525  and  1  535  by  Giulio  Pippi,  known 
as  Giulio  Romano  (1492-1546),  and 
was  decorated  partly  by  him  (Fig.  1  74), 
and  pardy  from  his  designs  and  in- 
structions, by  Francesco  Primaticcio, 
Rinaldo  Mantovano,  and  others.  Giulio  Romano  further  pre- 
pared a  number  of  drawings  for  the  frescoes  in  S.  Andrea  (the 
beautiful  church  designed 
by  Leon  Battista  Alberti, 
Fig.  I  70)  ;  and  collabo- 
rated with  Giovanni  Bat- 
tista Ghisi  in  the  trans- 
formation of  the  plan  of 
the  old  Cathedral ;  but 
his  most  important  work 
was  the  decoration  of 
many  parts  of  the  Corte 
Reale  for  Isabella  and 
for  Federico.  It  was  here 
that  at  a  later  date 
Lorenzo  Costa,  the 
younger  (1537-1583),  a 
member    of    a    family   of 

artists  that  included  also  Ippolito  (1506-1561)  and  Luigi,  deco- 
rated the  Sala  dello  Zodiaco. 

106 


FIG.   172. — HALL   OF  THE   PALAZZO  DEL    TE,    MANTUA. 

(Photo.  Alinari.) 


PADUA  AND  MANTUA 


In  1  708  the  Gonzaga  family  was  deprived  of  the  lordship  of  Man^ 
tua.  The  city  of  a  glorious  past  became  subject  to  Austria,  and  re^ 
mained     under     Austrian 


rule,  save  for  the  interval  of 
French  predominance,  up 
to  1866.  In  1752  a  Royal 
Academy  was  founded 
there  by  Maria  Theresa. 

To-day  the  marvellous 
city  that  had  arisen,   ac- 
cording to  the  legend  re- 
lated by  Dante,  above  the 
bones    of    the    prophetess 
Manto,  lies  solitary  amidst 
her  lakes,   not  known  as 
it  deserves  to   be  by  for- 
eigners, nor  indeed    by 
Italians.     And   in    her    sleep   she   dreams    again    the    great    and 
glorious    poem,    in    which    figure    Virgil    and    Sordello,    Isabella 
d'Este,   Andrea    Man- 
tegna,  and  the  Martyrs 
of  Belfiore. 


FIG.    173. — SALA    DEI    CAVALLI    IN    THE    PALAZZO 
DEL    TE,    MANTUA.        {PIlOlO.   AUnori.) 


.^.■vlj 


^^ 


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FIG.    174. WEDDING    FEAST   OF   CUPID    AND  PSYCHE. 

(OIULIO    ROMANO.) 

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ART  IN  NORTHERN  ITALY 


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drea Mantegna  in  Gazette  des  Beaux 
A  rts,  2,  xxxiii,  5 ;  Maud  Cruttv»rell, 
Mantegna,  London,  n.d.;  Ch.  Yriarte, 

Mantegna,  Paris,  1901  ;  E.  Thode,  Mantegna,  Leipsic,  1897  ;  P.  Kristeller,  Mantegna,  London, 
1903;  C.  Boito,  La  ricomposizione  dell'altare  di  Donatello  in  Arch.  Storico  dell'Arte,  1895;  C. 
Boito,  L'  altare  di  Donatello  in  Padova,  Milan,  1897;  Detlev  Freiherr  von  Hadeln,  Ein  Rekon- 
struktions  versuch  des  Hochaltars  Donatellos  im  Santo  zu  Padua  in  Jahrb.  der  K.  Pr.  Kunstsamml, 
1900;  P.  Kristeller,  Ueber  Donatellos  Altarbau  im  Santo  zu  Padua  in  Sitzungsbericht  viii.  1899, 
der  Berliner  Kunstgeschichtlichen  Gesellschaff.  A.  Gloria,  Donatello  a  S.  Antonio  di  Padova, 
Padua,  1895  ;  C.  von  Fabriczy,  Donatellos  Mitarbeiler  und  den  Reliefs  im  Santo  in  Repertorium 
/.  Kunstwiss. ,  1 889,  1 03  :  W.  Bode.  Donatello  d  Padoue,  Paris,  1 883  :  F.  Cordenons,  L  'altare  di 
Donatello  a/ 5an/os,  Padua,  1905;  Brocchi,  It  Padovanino,  op.  cit.:  A.  Moschetti,  L'auiorilralto 
del  Padovanino  in  Bollettino  del  Museo  civico  di  Padova,  1 899,  51;  B.  Berenson ,  An  A Itar-piece 
ij!  Girolamo  da  Cremona  in  The  Study  and  Criticism  of  Italian  Art,  Series  ii,  London,  1902,  and 
Una  nuova  pillura  di  Girolamo  da  Cremona  in  Rassegna  d'A  rte,  March,  1 907  ;  W.  Bode,  Madon- 
rienbildervon  Domenico  und  Francesco  Moronein  Jahrb.  d.  Ksnigl.  Preuss.  Kunstsamml.,  viii,  121; 
W.  Bode,  Lo  scultore  Bartolomeo  Bellano  da  Padova  in  Arch.  Storico  dell'Arte,  iv,  1891  ;  A. 
Venturi,  La  Galleria  Sterbini  in  Roma,  Rome,  1906,  p.  154;  Frizzoni  in  Archivio  Storico 
dell'Arte,  1890,  303;  A.  Venturi,  Appunti  sal  Museo  civico  di  Verona  in  Madonna  Verona, 
1907,  i;  A.  Venturi  in  L'Arte,  1898,  357;  A.  Munoz,  Dipinii  di  Bernardino  Parenzano  nel 
Museo  civico  di  Vicenza  in  Bollettino  d'arte  del  Minist.  delta  P.  I.,  1908,7;  Cario  d'Arco, 
Delle  arti  e  degli  artefici  di  Mantova,  Mantua,  1857;  Fr.  Antoldi,  Guida  di  Mantova,Man\.ua, 
1835;  M.  Pascasio,  Guida  di  Mantova,  Mantua,  1905:  A.  Bertolotti,  Artisti  in  relazione  coi 
Qonzaga  si^nori  di  Mantova,  Modena,  1885  :  A.  Bertolotti,  Figuli,fonditori  e  scultori  in  relazione 
eon  la  Corte  di  Mantova  net  secoli  xv-xvii,  Milan,  1890;  Umberto  Rossi.  La  patria  di  Sperandio. 
Como ;  A.  Venturi,  Sperandio  di  Mantova  in  Archivio  Storico  dell'Arte,  i,  Rome,  1888; 
H.  Mackowsky,  Soerandio Mantovano  in  Jahrb.  d.  K.  Preuss.  Kunstsamml.,  xix,  171  :  A.  Luzio, 
La  Madonna  delta  Vittoria  del  Mantegna  in  Emporium,  x,  1899;  R.  MA\odi,  La  basilica  di 
S.  Andrea  in  Mantova  in  Emporium,  xiv,  1901  ;  Vittorio  Matteucci,  Le  chiese  artistiche  del 
Mantovano,  Mantua,  1902  ;  G.  Prandi,  Vila  e  optre  di  Lorenzo  Leombruno,  Mantua,  1825  ;  C. 

108 


riG.    175. — CASTLE  OF   THE  GONZAGA,   MANTUA. 


PADUA    AND    MANTUA 

Camba,  Lorenzo  Leombruno  in  Rasxgna  d'Arte,  1906;  A.  Luzio,  II Palazzo  del  Te  a  Mantooa 
in  Corriere  della  Sera,  1 903 ;  Slefano  Davari,  Descrizione  del  Palazzo  del  Te  di  Mantova  di 
Giacomo  Slrada,  illustrala  con  documenti  tratti  dall'Archivio  Gonzaga  in  L'Arte,  1899;  Stefano 
Davari,  Deicn'z/one  del  Palazzo  del  Te  di  Mantooa,  Mantua,  1905:  1.  Aldobrandini,  La  sa/a 
dei  Giganti  nel  Palazzo  del  Te  presso  Mantova  creduta  disegno  di  Qiulio  Romano,  dimostraia 
invenzione  e  opera  di  Rinaldo  Maniovano,  Verona,  1 833  ;  C.  d'Arco,  htoria  della  vita  e  delle 
opere  di  Qiulio  Romano,  Mantua,  1 838  :  A.  Venturi,  Lorenzo  Costa  in  A  rchivio  Storico  dell' A  rte, 
1888;  E.  Jacobsen,  Lorenzo  Costa  und  Francesco  Francia  in  Jahrb.  d.  K.  Preuss.  KunstsammL, 
XX,  159;  G.  Gruyer,  L'Art  ferrarais  d  I'epoque  des  Princes  d'Este,  Paris,  1897;  A.  PatriccJo, 
Quida  del  Palazzo  ducale  di  Mantooa,  Mantua,  1908;  Album  del  Palazzo  ducale  di  Mantova, 
Bergamo,  n.  d. 


109 


fIG.    176. AMPillTUEATKE,    VEKO.NA.       (J'luilO.    Alilldri.) 

CHAPTER    IX 
VERONA,  VICENZA,  BRESCIA,  AND  BERGAMO 

Greatness  of  Verona  in  Roman  times. — Antiquities. — Gothic  buildings. — Renaissance  buildings. 
— Early  painters  in  Verona. — Pisanello. — Disciples  of  Mantegna  at  Verona. —  The 
assimilation  of  Veronese  art  by  that  of  Venice. —  Vicenza  under  Venetian  rule. — Andrea 
Palladia. —  Vicenzan  painters. — Architecture  at  Brescia. —  The  minor  arts  at  Brescia. — 
Romanino,  Moretto,  and  Moroni. — Artists  at  Bergamo. 

There  is  not  one  of  the  marvellous  cities  that  He  beneath  the  Alps 
of  Lombardy  and  of  the  Venetian  territory  that  has  not  its 
art  history,  and  upon  all  of  them  the  influence,  first  of  the  School 
of  Padua,  then  of  the  Schools  of  Venice,  was  exercised  in  greater 
or  less  degree.  Already,  when  treating  of  the  latter,  we  had 
occasion  to  speak  of  not  a  few  artists  who  were  born  in  various 
towns  of  the  Venetian  domain ;  we  have  since  been  occupied  with 
Padua  and  with  Mantua,  in  connection  with  the  great  works 
of  Mantegna ;  we  will  now  consider  the  art  of  Verona,  passing 
on  presently  to  that  of  Vicenza,  of  Brescia,  and  of  Bergamo. 

The  history  of  painting  at  Verona  is  of  especial  importance ; 
after  that  of  Venice  it  may  be  held  to  be  the  most  notable  of  all 
this  region ;  indeed,  if  the  Veronese  painters  had  maintained  the 
energy  and  strength  with  which  they  started,  their  art  would  have 
been  entitled  to  the  first  place. 

Even  before  the  rise  of  her  school  of  painting,  the  city  possessed 
artistic  traditions  and  marvellous  monuments  which  bore  witness  to 
her  greatness  in  Roman  and  mediaeval  times. 

The  Porta  dei  Leoni,  the  so-called  Porte  dei  Borsari,  the  theatre 
and  the  amphitheatre  (Fig.  1  76),  are  relics  of  her  Roman  period, 
while  her  medieval  monuments  include  a  conspicuous  series  of 
Romanesque  churches,  among  which  the  most  important  are 
San  Zeno  (Fig.  1  77),  where,  on  the  fa9ade,  the  works  of  certain 
contemporary  sculptors,  a  Guglielmo  and  a  Nicolo  (before  I  1 38) 
may  still  be  seen,  and  the  Cathedral,  a  building  originally  in  the 

110 


VERONA,   VICENZA.   BRESCIA.   AND   BERGAMO 


FIG.    177. CHURCH    OF   S.    ZENO,    VERONA. 

(Photo.  Alinari.) 


same  style  which,  hke  the  Church  of  San  Fermo  (Fig.  1  78)  has  a 
pseudo-Gothic  aspect  due  to  successive  aherations.  Examples 
of  true  Gothic  art,  on  the 
other  hand,  may  be  found 
in  Sant*  Anastasia  (Fig. 
1  79),  and  again  in  an  im- 
portant series  of  sepulchral 
monuments  ;  of  these  latter 
the  most  remarkable  are  the 
tombs  of  the  Scaligeri 
(Fig.  180),  which  are  in 
part  the  work  of  Lombard 
sculptors.  The  richest,  in- 
deed, that  of  Cansignorio 
(1375),  is  by  Bonino  da 
Campione. 

In  the  fifteenth  century 
both  sculpture  and  architecture  in  Verona,  under  the  influence  of 
Tuscan  artists,  began  to  show  Renaissance  tendencies,  the  mature 
results  of  which  were  masterpieces  of  harmony  and  grace,  such  as 
the  Palazzo  del  Consiglio  (Fig.  181 ),  assigned  without  any  evidence 
to  Fra  Giocondo  ;  the  door  of  the  Archbishop's  palace,  and  the 
campanile  of  S.  Maria  in  Organo,  designed  by  that  Fra  Giovanni 
(1457-1525)  who  was  also  a  famous  woodcarver  and  worker 
in  intarsia.  Later  on,  with 
the  sixteenth  century,  the 
classical  style  established 
itself  in  Verona  also.  It 
found  its  principal  supporter 
in     Michele     Sanmichele 

(1484-1559)    who    buih 

many  sumptuous  palaces, 
the  Pelligrini  Chapel  at 
S.  Bernardino,  and  other 
rotundas,  cupolas,  and 
campaniles.  He  also  took 
an  active  part  in  the  restora- 
tion of  the  fortifications. 

But  the  art  that  had  the 
most  vigorous  development 

in  Verona  was  that  of  painting,  an  art  that  had  already  held  an 
important  position  as  far  back  as  the  fourteenth  century.     In  early 

111 


FIG.  178. — CHURCH  OF  S.  FERMO  MAGGIORE,  VERONA. 

(Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


KG.    179. — CHURCH   OF   S.    ANASTASIA, 
VERONA. 

{Photo.  Alinari.) 


days  it  showed  Byzantine  characteristics,  as  in  the  work  of  a  certain 
Cicogna,  who  migrated  to  the  town,  perhaps  from  Bologna ;    then 

the  influence  of  Giotto,  as  mani- 
fested in  various  frescoes  in  S. 
Fermo ;  finally,  with  Altichiero 
(whose  works,  like  those  of  Avanzo, 
must  now  be  sought  in  Padua). 
Veronese  painting  developed  very 
individual  qualities  of  technique 
and  sentiment,  shown  in  the  un- 
precedented magnificence  of  archi- 
tectural backgrounds,  and  in  a  keen 
search  for  truth  that  led  it  far  away 
from  the  trite  and  outworn  form- 
ulas of  the  Giottesque  tradition 
(Fig.  182).  The  final  affirmation, 
or  rather  the  conquest,  of  the  new 
manner,  belongs,  however,  to  the 
following  generation,  if  not  to 
Giovanni  BaJile  (working  1409- 
1448),  most  assuredly  to  Stefano 
da  Verona,  known  in  the  past  as 
Da  Zevio  (1375  till  after  1 438,  Fig.  1 83)  and  to  Antonio  (erroneously 
called  Vittore)  Fisano,  generally  known  as  Pisanello  (1397-1455), 

who  was  born  in  Pisa  and 
taken  to  Verona  as  a  child. 
Stefano  introduced  exotic 
elements  into  his  art,  de- 
rived more  especially  from 
the  School  of  Cologne  and 
perhaps  also  from  that  of 
Lombardy.  Yet  Stefano 
stands  on  a  much  lower 
level  than  Pisanello,  who 
undoubtedly  ranks  as  one 
of  the  greatest  initiators  of 
the  Renaissance.  It  is 
impossible  to  overlook  the 
influence  exercised  upon 
him  by  Gentile  da  Fabri- 
ano,  who  was  in  Venice  as  early  as  1 408 ;  but  no  sooner  was  he 
brought  in  contact  with  truth,  than  Pisanello  recognised  his  ovm 

112 


FIG.    180. — TOMBS   OF  THE   SCALIGERI,    VERONA. 

{Photo.  Alinari.) 


VERONA,  VICENZA.  BRESCIA.  AND  BERGAMO 


FIG.    l8l. — PALAZZO    DEL    CONSIGLIO,    VERONA. 

(Pholo.  Alinari.) 


Strength  and  recovered  his  own  individuality.  This  was  brought 
about  in  great  measure  by  his  practice  as  a  medaUist ;  it  was  thanks 
to  such  work,  in  portraiture 
above  all,  that  he  attained 
so  early  to  a  broad  and 
powerful  note  of  naturalism. 
Of  this  art,  which  he  re- 
vived, he  became  so  com- 
plete a  master  that  he 
inspired  a  crowd  of  disci- 
ples among  whom,  in 
Verona  alone,  we  find  such 
men  as  Matteo  Pasti, 
Giovanni  Maria  Pome- 
dello,  and  Giulio  della 
Torre.  Pisanello's  medals 
of  Piccinino,  of  Leonello 
d'Este,   of   the   Malatesta, 

of  Pier  Candido  Decembrio,  of  Vittorino  da  Feltre,  of  Filippo  Maria 
Visconti,  of  Giovanni  Paleologo,  of  Alfonso  of  Aragon,  of 
Francesco  Sforza,  of  the  Gonzaga,  of  Inigo  d'Avalos,  and  of  Tito 
Vespasiano  Strozzi,  are  equally  admirable  for  their  incisive  portraiture 
and  for  the  designs  on  the  reverse,  where  we  find  nude  figures, 
animals,  and  landscape  scenes,  in  which  an  incomparable  grace 
is  reconciled  with  truth  to 
nature  and  expressed  in  the 
bronze  with  a  technical 
mastery  worthy  of  the  an- 
cients. But  for  us  Pisanello 
is  not  of  less  importance 
as  a  draughtsman  and  a 
painter,  the  more  so  when 
we  observe  that  almost  all 
his  pictures  are  of  an  earlier 
date  than  his  medals.  In 
his  drawings,  too,  he  re- 
veals his  passion  for  re- 
search and  his  acuteness 
in  seizing  all  that  is  most 
beautiful  and  characteristic 
in  the  works  of  nature.  In  this  he  has  some  points  of  contact 
with  Leonardo  da  Vinci.     Plants,  flowers,  and  animals,  in  their 

113  I 


FIG.    182. — VIRGIN   AND   CHILD   ENTHRONED,    WITH 
SAINTS    AND    ANGELS.       (aLTICHIERO.) 

Church  of  S.  Anastasia,  Verona.     {Photo.  Alinari.') 


ART  IN  NORTHERN  ITALY 


FIG.   183. — VIRGIN  AND  CHILD. 
(STEFANO  OF  VERONA.) 

Museo  Civico,  Verona. 
{Photo.  Brogi.) 


various  aspects,  interested  him  as  much  as  the  human  figure ;  he 
studied  them,  therefore,  with  equal  appHcation  and  drew  them  with 
equal  care.  In  his  pictures  beauty  is  married 
to  a  delicate  poetry  which  makes  them 
altogether  delightful.  I  may  instance  such 
examples  as  the  Annunciation,  in  S.  Fermo 
in  Verona,  where  the  angel,  trembling 
with  emotion,  draws  himself  together,  and 
seems  to  hide  himself  within  the  solemn 
curve  of  his  wings ;  or,  again,  the  S. 
George  of  S.  Anastasia,  where  the  saint 
appears  to  avoid  the  fixed  and  grateful 
glance  of  the  princess ;  or  the  S.  Eustace 
startled  at  the  apparition  of  the  stag  in  the 
dark  wood,  filled  with  beasts  of  all  kinds, 
where  the  dense  branches  shut  out  the  rays 
of  sun  and  moon  ("raggiar  sole  ne  luna") 
(Fig.  1 87)  ;  or  finally  the  earnest  colloquy 
of  S.  Antony  and  5.  George  in  the 
National  Gallery. 

It  was  in  1436  that  Jacopo  Bellini 
painted  his  many-figured  fresco  of  the 
Crucifixion  for  the  cathedral  of  Verona ;  little  more  than  twenty 
years  later  Andrea  Mantegna's  famous  triptych  was  placed  in 
S.  Zeno.  These  renowned  works  (the  former  no  longer  survives), 
together  with  those  of  Pisanello,  served  as  the  most  important  but 
not  the  only  guides  to  the  following  generation  of  painters  at 
Verona.  Francesco  Benaglio,  brought  up  in  the  school  of  Padua, 
before  long  became  a  follower  of  Mantegna ;   others,  who  seem  to 

have  been  followers  of  Man- 
tegna from  the  beginning,  were 
Francesco  Bonsignori  (1455- 
1519),  who  at  a  later  period 
was  not  unmindful  of  the  fasci- 
nation of  the  Bellini  (Fig.  1 86)  ; 
Liberale  (1445-1526),  a 
powerful  but  unequal  painter  of 
considerable  individuality  (Fig. 
188);    Domenico   Morone 

(1442-1528?  Fig.  189)  and 

his  son  Francesco  (1470-1  529),  the  one  a  follower  of  BenagHo  and 
the  other  of  his  father,  but  both  of  them  influenced,  first  by  Mantegna 

114 


. — medal  of  sigismondo  malatesta. 
(pisanello.) 


I 


VERONA,  VICENZA,  BRESCIA.  AND  BERGAMO 


FIG.    185. — VIRGIN   AND    CHILD    WITH 
ANGELS.      (f.   BENAGLIO.) 

Museo  Civico,  Verona. 
{Photo.  Anderson.') 


FIG.    186. — VIRGIN    AND    CHILD    WITH 
SAINTS.       (f.    BONSIGNORI.) 

Church  of  S.  Bernardino,  Verona. 
{Photo.  Brogi.) 


and  then  by  Gentile  Bellini ;  and  finally  Girolamo  dai  Libri 
(1472-1556,  Fig.  190),  a  pupil  of  Domenico  Morone,  who  later 
on  imitated  not  Mantegna  only,  but  also  Bartolomeo  Montagna. 
We  have  a  more  eclectic  painter  in  Gian  Francesco  Caroto 
(1480-1555,  Fig.  191);  in  his  works  we  find  successively  traces 
of  Liberale,  Mantegna,  Bonsignori,  of  Cima  and,  finally,  even  of 
Raphael.  Nicolo  Giolfino  (1476-1555),  taking  his  start  from 
Liberale,  yielded  later  to  various  influences.  Giammaria  Falconetto 
(1468-1534)  was  a  good  fresco-painter,  who  sacrificed  the  unity 
of  his  composition  to  his  love  for  architectural  detail.  Michele 
da  Verona,  who  flourished  in  the  first  quarter  of  the  sixteenth  cen- 
tury, was  influenced  by  Carpaccio. 

Among  all  these  artists,  who  had  grown  up  in  the  school  of  the 
quattrocento,  but  had  not  resisted  the  assaults  of  the  more 
vigorous  and  ample  manner  of  the  cinquecento,  the  most  notable 
was  Paolo  Morando  Cavazzola  (1489-1522,  Fig.  193).  Setting 
out  from  the  school  of  Domenico  Morone,  and  then  following  in 
the  steps  of  Caroto,  of  Giolfino  and  of  Mantegna,  he  finally 
became  a  cautious  admirer  of  Raphael ;  but  as  a  colourist  he  had 
qualities  of  the  first  older,  reconciling  a  lively  treatment  with 
complete  harmony,  and  high  with  fresh  and  even  execution. 

After  the  time  of  Cavazzola,  Veronese  painting  takes  on  a  full 
cinquecento  style,  but  it  was  now  under  the  protection  of  the  great 

115  i2 


ART  IN  NORTHERN  ITALY 


art  of  Venice,  into  which 
a  little  later  it  was  almost 
completely  absorbed.  In- 
deed, while  on  the  one 
hand  Giovanni  Caroto 
(1491-1555),  Francesco 
Torbido  (1483-1565), 
known  as  11  Moro  di  Ve- 
rona, an  accomplished 
fresco-painter  but  stronger 
as  a  portraitist  (Fig.  194), 
Domenico  Riccio,  known 
asBrusasorci  (1515-1567), 

FIG.    I87.-V,SI0N    OF    S.    EUSTACE.       (PISANELLO.)  ^"^  ^''^'''l'?  ^^^\(  ^  ^  ^  ^j 

National  Gallery,  London.     (.Photo.    Hanfstaengl.)     \^6U),     although    they    did 

V  jt  escape  the  influence  of 
the  triumphant  Venetian  school,  an<\/  .lotably  of  the  all-powerful 
art  of  Titian,  nevertheless  maintainec  a  certain  connection  with 
the  native  art  of  their  city ;  on  the  other  hand,  Bonifazio  dei 
Pitati,  Paolo  Veronese,  and  others  were  drawn  completely  within 
the  orbit  of  Venice. 

Jacopo  Ligozzi  (1543-1627y  was  the 
only  artist  who  detached  himself  from  the 
trend  common  at  the  time  to  his  fellow 
citizens.  Summoned  to  Florence  by  the 
Grand-Duke  Ferdinand  II.,  he  rapidly 
adopted  the  manner  of  the  Tuscan  painters. 

As  was  the  case  with  Venice,  Verona 
never  underwent  a  period  of  total  artistic 
eclipse ;  at  all  times  she  owned  a  few  artists 
who  kept  the  sacred  fire  burning. 

A  long  list  of  meritorious  Veronese 
artists  of  the  eighteenth  century  might  be 
added  here  did  space  permit,  and  among 
them  would  figure  several  architects  of 
distinction. 

^  *  ^ 


FIG.    1 88. — S.    SEBASTIAN. 
(LIBERALE   da    VERONA.) 

Brera,  Milan. 
(Pholo.  Anderson.) 


Vicenza,   like   Verona,   was   a   place  of 
some  importance  in  Roman  times,  but  un- 
fortunately only  a  few  scanty  remains  of  that  glorious  period  have 
been  preserved.     During  the  dark  ages  the  city,  when  not  subjected 

116 


VERONA,  VICENZA.  BRESCIA.  AND  BERGAMO 


FIG.    189. — VIRGIN    AND    CHILD. 
(DOMENICO   MORONE.) 

Church  of  S.  Maria  in  Organo, 
Verona.     (Photo.  Anderson.) 


to  outrage,  was  neglected.     Then,  like 

the  other  chief  cities  of  Northern  Italy, 

during    the    period    of    episcopal    and 

communal   rule,   she  prospered  anew. 

First,  notable  additions  and  alterations 

were  made  to  the  Church  of  SS.  Vito 

e  Modesto,  now  known  as  SS.  Felice 

e  Fortunato.     Somewhat  later  various 

churches  were  built  in  the  transitional 

Romanesque-Gothic  style,  among  them 

S.  Lorenzo  (Fig.   199),  S.  Corona,  S. 

Michele  and  above  all  the  Cathedral 

(Fig.   196),  a  building  that  underwent 

incessant  transformations,  thus  sharing 

the  fate  of  the  city  itsel"    which  was 

subject    in    turn    to    the      ^-arrara    of 

Padua,  to  the  Scaligeri  of   v  erona,  to 

the   Visconti   of    Milan    a 'id,    finally, 

(1404)   to   the   Republic   of   Venice, 

whose  dominion  lasted  until  1 7*^6. 

The  artistic  glory  of  Vicenz.    is  wholly  comprised  within*  the 

period  of  Venetian  rule ;  during  that  period  the  city  produced  a 
remarkable  series  of  architects  and  of 
painters.  Andrea  Palladio  (1518-1 580), 
called  "the  founder  of  modern  architec- 
ture," was  on  a  higher  plane  than  any  of 
his  predecessors.  But  the  "modernity" 
of  Palladio  was  nothing  but  a  masterly 
revival  of  the  style  of  the  ancients ;  it 
was  inspired  by  a  persistent  desire  that 
buildings  should  achieve  beauty  and  mag- 
nificence, thanks  to  their  proportions  alone, 
and  without  the  aid  of  any  decorative 
mask.  In  this  he  was  but  following  out 
the  precepts  of  Bramante  and  of  Michel- 
angelo, who  had  set  the  example  of  an 
earnest  and  loving  study  of  Roman  monu- 
ments. But  Palladio  carried  out  his  prin- 
ciples with  a  greater  rigour  and  at  times 
he  appears  bare  and  cold.  Nor  was  he 
content  to  go  to  the  architecture  of  the 
ancients  for  artistic  suggestions  only ;  he 

117 


FIG.    I  go. — S.    ANNE   WITH   THE 

VIRGIN    AND    SAINTS.  ' 

(gIROLAMO   DAI   LIBRI.) 

S.  Polo,  Verona. 
{Photo.  Anderson.) 


ART  IN  NORTHERN  ITALY 


FIG.    igi. — TOBIAS    WITH   THE   ARCH- 
ANGELS.      (CAROTO.) 

Museo  Civico,  Verona. 
(Photo.  Anderson.) 


was  equally  or  even  more  occupied 
with  problems  of  construction  and 
of  internal  arrangement.  Just  as 
Michelangelo,  and  at  a  later  time 
Bernini,  gave  a  special  aspect,  a 
distinctive  character,  to  Rome,  so 
did  this  great  architect  in  the  case  of 
Vicenza,  so  that  the  town  came  to 
be  called  "the  city  of  Palladio."  In 
fact  his  noble  style  of  architecture 
asserted  itself  and  gave  the  law  for 
the  future,  putting  in  the  background 
the  palaces  built  in  the  Venetian- 
Gothic  style.  And,  indeed,  to  study 
Palladian  architecture  we  must  go  to 
Vicenza,  where,  from  the  number 
and  the  variety  of  examples,  it  shows 
to  greater  advantage  than  when  seen 
in  isolated  specimens  and  amid  sur- 
roundings that  are  not  in  harmony 

with  it.     Such  buildings  as  the  Church  of  the  Redentore  and  the 

Palazzo  Ruini,  standing  isolated  amid  the  richness  and  the  decora- 
tive vivacity  of  Venice  and  of 

Bologna,  appear  cold  and  aca- 
demic. 

Andrea   Palladio   converted 

Vicenza      into      a      miniature 

Rome  ;  he  set  himself  not  only 

to   build   the   famous   Basilica 

(Fig.    197),   the  bridge  of  S. 

Michele,     the     Rotunda,     the 

Loggia     del     Capitanio,     the 

Teatro    Olimpico    (Fig.  198), 

etc.,  but  also  to  mark  out  the 

path  for  his  successors,  among 

whom  we  at  once  discern  an 

architect  of  great  power — Vin- 

cenzo  Scamozzi  (1562-1616). 

Scamozzi   was   in   demand   in 

other  towns  as  well,  in  Rome, 

in  Genoa,  and  as  we  have  seen,  in   Venice ;    in   his   native   city 

he  was  the  author  of  the  Palazzo  del  Comune  (formerly  Palazzo 

118 


fig.  192. — the  sybil  reveals  the  mystery 

of  the  incarnation  to  augustus. 

(falconetto.) 

Museo  Civico,  Verona.    (Photo.  Anderson.) 


VERONA,  VICENZA.  BRESCIA.  AND  BERGAMO 


'f  ■) 


j^^'^'^J^' 


FIG.     IQ3. — DESCENT    FROM    THE 
CROSS.       (CAVAEZOLA.) 

Museo  Civico,  Verona. 
(Photo.  Brogi.) 


Trissino  Baston,  and  of  the  Palazzo  Valmarana  (formerly  Palazzo 
Trento),  of  the  scenic  decoration  of  the  Teatro  Olimpico,  and  of  other 
buildings.  Certain  architectural  as- 
pects of  Vicenza  may  without  exag- 
geration be  called  magnificent.  I  may 
instance  the  group  of  buildings  to  be 
seen  from  the  street  of  the  Biblioteca 
Bertoliana,  and  formed  by  the  side 
of  the  Loggia  del  Capitanio  and  the 
basilica ;  the  Piazza  dei  Signori, 
with  the  same  basilica  and  the  same 
Loggia  in  a  different  view  ;  the  Tower, 
the  Church  of  S.  Vincenzo,  the  Monte 
di  Pieta,  and  the  Columns. 

The  group  of  painters  who  were 
born  and  who  worked  in  Vicenza  is 
not  less  remarkable  than  that  of  the 
architects.  The  oldest  of  them  is  a 
certain  Battista,  whose  great  polyptych 
may  be  seen  in  the  museum  of  the 
city ;  the  Venetian  origin  of  this  work 
is  patent  not  only  in  the  rich  adorn- 
ment of  the  frame  but  in  the  length  and  dignity  of  the  figures. 
Some  critics  believe  that  the  Avanzo  who  worked  at  Padua 
(see  pp.  98  and  I  1 2)  was  a  Vicenzan,  and  also  that  Francesco 
Verla  (fl.  about  1  522)  who  was  a  follower,  first  of  Perugino,  and 
then  of  Mantegna,  There  were  other  mediocrities  who  were  asso- 
ciates of  these  men,  but  at  length  there  appeared  in  Vicenza  an 
artist  of  great  parts,  whose  influence  extended  beyond  the  limits 
of  the  district :  this  was  Bartolomeo  Montagna,  who  was  born 
at  Orzinovi,  in  the  neighbourhood  of  Brescia,  about  the  middle 
of  the  fifteenth  century,  and  who  died  in  1 523  at  Vicenza, 
which  town  had  been  his  habitual  abode  for  about  half  a 
century.  As  happens  in  rfie  case  of  all  artists  who  have  a  dis- 
tinct personality,  there  is  much  uncertainty  as  to  where  and  how 
Bartolomeo  learnt  his  art ;  it  has  been  stated  that  he  was  a 
pupil  of  Alvise  Vivarini,  that  he  was  influenced  by  Mantegna, 
by  Carpaccio,  by  Gentile  Bellini,  by  the  sculptor  Bellano ;  again 
that  he  was  not  deaf  to  voices  from  beyond  the  Alps.  This  at 
least  is  certain  —  that  the  many  elements  which  go  to  make  up 
his  art  are  re-inforced  by  a  personal  talent  of  the  first  order. 
If   in   his  calm   and   symmetrical   composition   he   never  reached 

119 


ART  IN  NORTHERN  ITALY 


FIG.    194. — PORTRAIT   OF  A   MAN. 

(f.    TORBIDO.) 

Brera,  Milan.     {Photo.  Anderson.) 


the  level  of  Carpaccio  or  of  Gentile  Bellini,  if  in  the  conception  of 
the  divine  ideal  he  was  inferior  to  Giovanni  Bellini,  on  the  other 

hand,  in  the  accomplished  severity 
of  his  draughtsmanship,  in  the 
vivacity  of  his  deep  colouring,  in 
the  grandeur  of  his  modelling,  and 
in  the  lofty,  austere  character  im- 
pressed upon  his  figures,  Mon- 
tagna  was  second  to  none  :  this  may 
be  seen  in  such  works  as  the  altar- 
pieces  in  the  Brera  (Fig.  201)  and 
at  Berlin,  the  Pieta  of  Monteberico, 
and  in  other  pictures  to  be  found  in 
the  churches  and  in  the  Museum  at 
Vicenza. 

Painters  who  followed  the  man- 
ner of  Bartolomeo  very  closely 
were  Benedetto,  his  brother  (scarcely 
his  son  if  he  was  born  about  1 458), 
Giovanni  Speranza  (Fig.  202),  and 
Giovanni  Bonconsiglio,  known  as  II 
Marescalco,  who  was  working  be- 
tween 1490  and  1535.  This  last  artist  succeeded  in  rivalling 
his  master  in  some  of  his  works,  as  in  the  Pieta  in  the  Museum  at 
Vicenza,  a  marvel  of  grandeur  and  lofty  sentiment  (Fig.  203),  but 
after  a  time  his  art  deterio- 
rated and  his  manner  be- 
came weak  and  conven- 
tional. Among  those  who 
felt  the  influence  of  Mon- 
tagna  we  have  already 
mentioned  Cima  da  Con- 
egliano.  Brief  mention 
must  further  be  made  of 
Marcello  Fogolino,  who 
was  born  in  Friuli  at  S. 
Vito ;  he  betook  himself 
to  Vicenza  and  was  work- 
ing there  from  1520  to 
1540.  His  paintings, 
pleasing  in  their  vivacity  of  design  and  colouring,  proclaim  him  an 
eclectic  (Fig.  202).     In  Vicenza  he  was  a  follower  of  Speranza 

120 


BR 

\:'Y         '-y      V 

FIG.    195. — ECCE    HOMO.       (PAOLO    FARINATI.) 

Museo  Civico,  Verona.     {Photo.  Brogi.) 


VERONA.  VICENZA.  BRESCIA.  AND  BERGAMO 


FIG.    196. — CATHEDRAL,    VICENZA. 

(Photo.  Alinari.) 


rather  than  of  Montagna ;  later  on  he  perfected  his  art  under 
Pordenone,  not  without  giving  proof,  in  some  traits,  of  his  knowl- 
edge of,  and  admiration 
for,  the  works  of  Raphael. 


A  town  of  considerable 
importance  during  the 
Roman  period,  Brescia 
still  treasures  the  remains 
of  some  notable  buildings 
dating  from  that  time, 
such  as  the  Forum,  the 
Curia,  the  Temple  of 
Vespasian,  to  say  nothing 
of  an  extraordinary  number 
of  inscriptions  and  works  of  sculpture,  the  most  celebrated  of  which 
is  the  bronze  statue  of  Victory.  Of  the  importance,  again,  of  Brescia 
in  the  Byzantine  and  Lombard  ages,  we  have  evidence  in  such 
buildings  as  S.  Salvatore,  Santa  Maria  del  Solario,  and  the  old 
Cathedral  that  lies  under  the  twelfth  century  Rotunda  (Fig.  204), 
which  latter  is  certainly  the  most  remarkable  monument  of  the 
Romanesque  period  in  the  town.  During  the  period  in  which  the 
pointed  style  prevailed,  several  churches  were  built  in  Brescia,  but 
any  servile  imitation  of  the 
Northern  Gothic  never 
found  favour  there,  and 
thus  the  passage  to  the 
Renaissance  was  rendered 
easy.  It  was  chiefly  under 
the  protection  of  the  Re- 
public of  Venice  that  this 
passage  was  made,  and 
many  remarkable  buildings 
were  erected  in  the  new 
style,  as,  for  example,  the 
Madonna  dei  Miracoli,  the 
sepulchral  monument  of 
Marcantonio  Martinengo 
(Fig.  205),  and  the  Loggia,  a  building  in  the  construction  of  which 
many  architects  took  part,  from  Formenton  to  Sansovino  and  Pietro 

121 


-BASILICA    PALLADIANA,    VICENZA. 

(Pholo.  Poppi.) 


ART  IN  NORTHERN  ITALY 


FIG.    198. — TEATRO   OLIMPICO,    VICENZA. 

(JPhoto.  Alinari.) 


Beretta  (1518-1572),  while  its  adornment  employed  a  crowd  of 

sculptors,    many   of   whom    were    natives    of    Brescia.     Antonio 

Calegari  (1698-1777).  to 
whom  we  are  indebted  for 
the  fountain  in  the  Piazza 
del  Duomo,  and  for  a 
much  admired  statue  of 
St.  Agnes,  was  also  a 
Brescian. 

Indeed,  when  we  con- 
sider the  number  of  artists, 
working  in  every  field  of 
art,  who  were  either  na- 
tives of  Brescia  or  were 
summoned  to  the  city,  we 
recognize  that  few  towns 
have  rivalled  her  in  this 

respect.     It  was  the  continuity  of  her  artistic  production,  and  the 

wide  field  over  which  it  was  spread,  rather  than  the  presence  of 

artists  of  the  highest  order,  that  insured  the  great  reputation  of  the 

city  in  all  lands  and  at  all  times. 

Brescia  harboured  whole  bands  of 

goldsmiths  whose  work  in  niello  is 

highly   prized ;     carvers   of   wood 

and    workers    in    intarsia,    among 

others      Stefano      Lamberti      and 

Raffaello    Marone    (1479-1560); 

designers     of     stained-glass     win- 
dows ;   illuminators ;   manufacturers 

of    musical    instruments,    of   organs 

above  all,  and  of  lutes,  an  instru- 
ment whose  place  was  taken  later 

on  by  the  violin,  which  indeed  may 

be  called  a  Brescian  invention  ;  and 

finally,  those  forgers  of  arms,  who, 

thanks   to   the   excellence  of   their 

work,    and    to    the    richness    and 

beauty  of  their  decoration,  insured 

for  their  city  a  long  supremacy  in 

the  working  of  iron. 

Painting  in  the  fourteenth  century  was  poorly  represented   in 

Brescia;   in  the  fifteenth  century,  on  the  other  hand,  it  was  firmly 

122 


FIG.    199. APSE    AND    BELL    TOWER    Of 

S.    LORENZO,    VICENZA. 

iPkoto.  I.  I.  (TArli  Grafiche.) 


VERONA,  VICENZA.  BRESCIA,  AND  BERGAMO 


FIG.    200. — VIRGIN    AND    CHILD    WITH 
SS.    BERNARDINO    AND    FRANCIS. 
(O.    SPERANZA.) 

Brera,  Milan. 


established  there,  with  the  group 
of  artists  (including  such  men  as 
Foppa  and  Zenale),  who  gave  the 
lead  to  the  art  of  Lombardy  up  to 
the  time  of  Leonardo.  Then,  in 
the  sixteenth  century,  a  school  of 
great  vitality  arose  in  the  town,  a 
school  inaugurated  by  Floriano  Fer- 
ramola  (d.  1 528),  and  continued  by 
Alessandro  Bonvicino,  known  as 
II  Moretto  (1498-1 554),  and  Giro- 
lamo  Romani,  known  as  Romanino 
(1485-1566?).  Both  of  these 
painters  learnt  their  art  from  the 
same  master,  and  both  were  in- 
fluenced by  Girolamo  Savoldo  (also 
a  Brescian,  but  trained,  as  we  have 
seen,  in  the  school  of  Venice),  and 
later  by  Titian  and  by  Lotto  ;  both 

of  them,  in  fine,  were  brought  up  in  the  same  artistic  atmosphere, 

and  yet  they  differed  strangely  both  in 

sentiment  and  in  wTiat  one  may  call 

external  qualities. 

Moretto,    a   calm,    pure,    and   sedate 

spirit,  preferred,  and  was  most  successful 

in  the  treatment  of,  subjects  whose  domi- 
nant note  is  the  expression  of  a  tranquil 

religious  sentiment  (Fig.  206).    When  he 

undertook    subjects    of    a    dramatic    or 

stirring  character,  he  became  confused 

both    in    composition    and    form.     His 

colour  is  moreover  cold,  and  based  upon 

a  prevalent  note  of  a  pale  purple,  which 

at  times  degenerates  into  a  livid  tint ; 

yet  even  this  technical  element  sometimes 

re-inforces  the  sentiment  of  the  work. 

Romanino  is  inferior  as  a  draughts- 
man, but  he  has  a  greater  fund  of  vital 

energy.     His    colouring,    rich    in    fresh 

silvery  tones  and  in  flashing  carmines, 

evokes  a  feeling  of  joy  in  full  contrast  to  the  sense  of  sadness  called 

up  by  the  colour  of  Moretto,  a  melancholy  which  is  evoked  even 

123 


no.  2-11. — VIRGIN  AND  CHILE 

ENTHRONED.  WITH  SAINTS. 

(b.  MONTAGNA.) 

Brera,  Milan. 


ART  IN  NORTHERN  ITALY 


by  his  fresco  with  the  group  of  beau- 
tiful women  in  the  Palazzo  Martinengo 
at  Brescia. 

This  difference  of  temperament  perhaps 
accounts  for  the  fact  that  few  pupils  grouped 
themselves  round  Moretto,  and  many  round 
Romanino.  However,  among  these  few  we 
find  Gian  Battista  Moroni  (1520-1578), 
born  at  Bondo  in  the  Bergamo  country,  who, 
although  but  an  indifferent  painter  of  sacred 
subjects,  so  excelled  in  the  execution  of  por- 
traits (Fig.  207),  powerful  in  their  mastery 
both  of  form  and  sentiment,  as  to  excite  the 
admiration  of  Titian,  the  master  of  masters. 


FIG.    202. VIRGIN    AND 

CHILD.      (FOGOLINO.) 

Museo  Poldi  Pezzoli, 
Milan.  (Photo.  Anderson.) 


Bergamo  is  another  of  those  beautiful  cities 

that  lie  at  the  foot  of  the  Alps.     Although 

embellished  with  a  remarkable  series  of  works 

of  art,  Bergamo  has  never  had  any  distinct  school  of  painting  of  her 

own.      In    the   city    itself   were    born    Previtali,    Talpino,    Vittore 

Ghislandi,  known  as  Fra  Galgario  (Fig.  208),  and  Bartolomeo 

Nazzari,  the  last  two  distin- 
guished portraitists  (see  p.  88) ; 
in  the  surrounding  territory 
Girolamo  da  Santa  Croce, 
Jacopo  Palma  the  elder,  Cariani, 
Moroni,  and  others ;  but  these 
men  all  wandered  away  and  re- 
ceived their  artistic  training  in 
other  towns,  principally,  as 
we  have  seen,  in  Venice.  It 
was  in  Venice,  too,  that  Fra 
Domenico  Bergamasco  ( 1 490  ?- 
1 549),  the  famous  worker  in 
intarsia,  learnt  his  art.  As 
some  compensation  for  this, 
Bergamo  was  enriched  with 
works  of  art  by  masters  from 
other  regions.  In  the  fourteenth 
century  Giovanni  da  Campione 
124 


FIG.    203. PIETA. 

(G.    BONCONSIGLIO.) 

Museo  Civico,  Vicenza. 


VERONA.  VICENZA.  BRESCIA.  AND  BERGAMO 


FIG.  204. — THE  ROTUNDA  OR  OLD  CATHEDRAL, 

BRESCIA.     {Photo.  Guidoni.) 


was  working  there  both  as  a  sculptor  and  an  architect ;  Amadeo 
buih  in  the  upper  town  that  marvel  of  grace,  the  Capella  Colleoni 
(Fig.  211);  it  was  there  that 
Lorenzo  Lotto  painted  innu- 
merable canvases,  among  them 
what  may  be  reckoned  as  his 
masterpieces ;  and  finally  it 
was  there  that  G.  B.  Tiepolo 
executed  some  of  his  most 
energetic  frescoes. 

BIBUOGRAPHY   OF 
CHAPTER  IX 

—  Vasari,  Vite :  Michiel,  Notizia  d'opere 
di  dixgno'.  Baldinucci,  Notizie  di  professori 
di  disegno',  \^&n7i,  Storia  pittorica',  Rosini, 
Storia  delta  pitlura',  Crowe  and  Caval- 
caselle,  A  History  of  Painting  in  North 
Italy',  Meyer,  Allgemeines  Kiinstler-Lexi- 
con;  Thieme  and  Becker,  AUgemeines 
Lexicon  der  bildenden  KUnstler',  Burck- 
hardt,  Der  Ciceronz'.    Morelli,  Le  opere  di 

maestri  italiani  and  Delia  pittura  italiana',  Berenson,  North  Italian  Painters;  MUntz.  L'Art 
de  la  Renaissance ;  Woermann,  Geschichte  der  Kunst;  Springer-Ricd,  Manuale  di  storia  dell' 
arte,  ii  and  iii ;  A.  Venturi,  Storia  dell'arte  italiana,  iv  and  vi;  Frizzoni,  Le  Gallerie  dell'Ac- 
cademia  Carrara  in  Bergamo'.  A.  Venturi,  La  Galleria  Crespi',  P.  Molmenti,  La  pittura 
veneziana'.  G.  Ijidwig,  Archioalische  Beitrage  zur  Geschichte  der  van.  Malerei;  L.  Venturi, 
Pittura  oen. ;  Testi,  Storia  della  pittura  oen. ; 
Bartolomeo  dal  Pozzo,  Le  vite  dei  pittori,  scultori  e 
architetti  veronesi,  Verona,  1718;  C.  Bernasconi, 
Studi  sopra  la  storia  della  pittura  italiana  dei 
secoli  XtV  e  XV  e  della  scuola  pittorica  Veronese 
dei  medi  tempi  fino  al  sec.  XVIII,  Verona,  1864; 
Scipione  Mallei,  Verona  illustrata,  Milan,  1826; 
C.  Bemasconi,  Compendia  delle  vite  dei  pittori, 
scultori  e  architetti  veronesi,  Verona,  n.  d.  ;  Zan- 
nandreis,  Le  vile  dei  pittori,  scultori  e  architetti 
veronesi,  Verona,  1891  ;  Giuseppe  Benassuti, 
Verona  colla  sua  provincia,  Verona,  1842;  G. 
Bariola,  Quademo  di  discgni  del  principio  del 
sec.  XV  di  un  maestro  dell' Italia  Settentrionah 
in  Gallerie  nazionali  italiant,  1902,  v;  G.  Ber- 
nardini.  La  Collezione  dei  quadri  del  Museo 
civico  di  Verona,  Ronie,  1902;  Selwyn  Brinton, 
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don, 1907;  G.  Gerola,  Questioni  storiche  d'arie 
Veronese  in  Madonna  Verona,  ii,  1908;  Alten- 
hoven,  Geschichte  der  Kdlmr  Malerschule,  Lu- 
beck,  1902:  Da  Persico,  Verona  e  sua  provincia, 
i:  G.  G.  Orti  Manara,  La  basilica  di  S.  Zenone, 
Verona,  1839;  //  Duomo  di  Verona,  Verona,  n. 
d. ;  CipcJIa,  Per  la  storia  d'ltalia  e  dei  suoi  con- 
quistatori,  Bologna,  1895;  L.  Simeoni,  L'ahside 
di  S.  Zeno  a  Verona,  Venice,  1 908 ;  Schnaase, 
Geschichte  der  bildenden  Kunst  in  Mittelalter,  iv, 
Dusseldorf,  1871  ;  Sgulmero,  La  prima  preghiera 
di  maestro  Guglielmo  nellt  sculture  Veronesi  in 
Archivio  Storico  dell' Arte,  1895  ;  G.  Orti  Manara, 
Dei    lavori    architettonici    di    fra    GXocondo    in 

125 


FIG.    205. — MAUSOLEUM   OF   M.    A. 
MARTINENGO. 

Museo  Civico  Cristiano,  Brescia. 


ART  IN  NORTHERN  ITALY 


#^  fi^.. 

■  ^  ■  ^  i^*,  ■■■ 

f 

FIO.    206.       ,..Ab    OF    BARI 

PRESENTS    CHILURKN    TO    THE    VIRGIN. 
(MORETTO    of    BRESCIA.) 

Martinengo  Gallery,  Brescia. 
{Photo.  Alinari.) 


Verona,  Verona,  1853;  L.  Marinelli,  Fra 
G(ocon<?o,  Voghera,  1902;  E.  d.  Geymliller,  Cenlo 
disegni  di  archilettura  d'ornato  e  di  figure  di  fra' 
Giocondo,  Florence,  1 882 ;  P.  Lugano,  Di  fra 
Ciocondo  da  Verona,  Siena,  1905;  M.  Caffi,  Le 
tarsie  pittoriche  di  fra'  Giocondo  da  Verona  net 
coro  degli  Olivetani  in  Lodi  in  Arch.  Slor.  Lomb., 
1880;  E.  d.  GeymuUer,  Trots  albums  de  dessira 
de  Fra  Giocondo,  Rome,  1891  ;  L.  Dianoux,  Les 
monuments  civils.  religieux  el  miliiaires  de  Michele 
Sanmicheli,  Genoa,  1878;  L.  Marinelli,  Michele 
Sanmicheli,  Rome,  1901  ;  G.  Biadego,  Michele 
Sanmicheli  e  il  palazzo  di  Lavezzola,  Turin, 
1906;  G.  Biadego,  La  cappella  di  S.  Biagio 
nella  chiesa  dei  SS.  Nazaro  e  Celso  di  Verona  in 
Nuooo  Arch.  Venelo,  1906;  G.  Biadego,  A  pro- 
posito  di  un  protiro  (5.  Lorenzo  di  Verona)  in 
Arte  e  Storia,  1898  ;  P.  Schubring,  Altichiero  und 
seine  Schule,  Leipsic,  1898;  G.  Biadego,  //  pittore 
Jacopo  da  Verona  (1355-1442)  e  ('  dipinti  di  S. 
Felice,  S.  Giorgio  e  S.  Michele  di  Padova,  Treviso, 
1 906 ;  L.  Simeoni,  Gli  affreschi  di  Giovanni 
Badile  in  S.  Maria  della  Scala  di  Verona  in  the 
Nuovo  Archivio  Veneto,  xiii,  Venice,  1907;  L. 
Simeoni,  Maestro  Cicogna  m  Madonna  Verona, 
1907;  1.  von  Schlosser,  Ein  veronesisches  Bilder- 
buch  und  die  hsfische  Kunst  des  XIV  Jahr- 
hunderts  in  Jahrb.  d.  Kunsthist.  Samml.  des  aller- 
hSchsten  Kaiserhauses,  1902;  H.  Braune,  Die 
Kirchliche  Wandmalerei  Bozens  um  1400  in 
Zeitschrifl  des  Ferdinandeums,  S.  iii,  xxv,  115, 
Innsbruck,  1906;  H.  Braune,  Die  Allartafel  der 
KrSnung  Marias  im  Kloster  Stams  in    Tirol  und 

deren    Kanstgeschichtliche    Stellung    in     Zeitschrifl    des    Ferdinandeums,    fasc.    cit.;    G.    B. 

Cervellini,  Quando  nacque  Stefano  da  Verona  in  Madonna  Verona,  iii,  1909;   S.  M.  Spaventi, 

Viltor  Pisano  detto  Pisanello,  Verona,  1892;   E.  Muntz,    Vittore  Pisanello  da  Verona,  Paris, 

1899;  I.  de  Foville,  Pisanello  et  les  medailleurs  italiens,  Paris,    1908;  Courajod,  Lecons,  ii ;  A. 

Venturi,     Gentile    da    Fabriano    e    il    Pisanello  in 

Vite    di    Giorgio    Vasari,    ed.   critica,  i,    Florence, 

1896;     A.    Venturi,     //    Pisanello    a    Ferrara    in 

Archivio  I^ent/o,  xxx,  1885;  G.  F.  Hill,  Pisanello, 

London,  1905;  G.  Biadego,   Pisanus  Pictor  in  Atti 

del  R.  Istitulo  veneto,  Ixvii,   1907-08;   G.  Biadego, 

Pisanus    pictor,    nota    ii,     ibid.,     1909;     Giuseppe 

Gerola,    La  genealosia  dei  Falconetti  in    Madonna 

Verona,  iii,    1 909  ;   G.  Gerola,  Intomo  a  Domenico 

Morone  in  Madonna  Verona,  iii,    1909;    G.  Fogo- 

lari,  Cristoforo  Scacco  da  Verona   in    Gallerie  naz. 

ital.,    V,     1902;     G.    Biadego,    /    Giolfini,  Venice, 

1 892 ;  C.  Gamba,  Paolo  Morando  detto  il  Cavaz- 

zola  in  Rassegna  d'Arte,  v,   1905;    G.  Frizzoni,  A 

proposito     del     Cavazzola     Veronese    in     Rassegna 

</'/ir<e,  Milan,  1905;  A.  Foratti,   Giovanni  Boncon- 

siiili,  Verona,    1907:     P.   Sguimero,    //    Moretto  a 

Verona,   Verona,    1899;     L.   Simeoni,     //    fiiomale 

del  pittore  Paolo    Farinati    in    Madonna     Vercna, 

1907    and     1908;     Descrizione    delle    architeHure, 

pitture  e  sculture  di  Vicenza,  Vicenza,  1 799 :   G.  B. 

Berti,  Nuova  guida  per  Vicenza,  Padua,    1 830 ;    M. 

Caffi,   Antichi   dipinti   vicentini  in  Arte  e  Storia,  v, 

Florence,    1886;      F.   Anti,    Una     passegs>iala    per' 

Vicenza  nel  secolo  XVL  Vicenza,  1 889 ;  G.  Petting, 

Vicenza,     Bergamo,      1 905 ;     G.     Bernardini,     Le 

gallerie  di  Padova  e  di  Vicenza,  Rome,    1902;  G. 

Belloi,     //    Palazzo    della    Ragione     in     Vicenza, 

Vicenza,    1875;    F.   Anti,  //   Palazzo  An''aran   a 

Vicenza,   Vicenza,    1891  ;    B.    Morsolin,   //  Museo 

Gualdo  in  Vicenza,  Venice,   1894;    Cogo,    La  basilica  Palladiana    nella    storia    e    nell'arte, 

Vicenza,   1900;    I.  Kohte,  Aus  Vicenza.    Die  Basilica.    Der  Palazzo  Prefettizio  in  Blatter  f. 

Architektur  und  Kunsthandwerk,    1900,    n.   6:    Cogo,    //   rilieoo   architettonico   della   basilica 

Palladiana  in    Vicenza,   Vicenza,    19C0;     F.    Scolari,   Della   vita  e  delle  opere  di    Vincenzo 

126 


FIG.    207. — PORTRAIT    OF    AN    OLD 
GENTLEMAN.       (g.    B.    MORONI.) 

-Accademia  Carrara,  Bergamo. 


VERONA,  VICENZA,  BRESCIA.  AND  BERGAMO 


Scamozzi,  Treviso,  1837;  G.  Gerola,  Francesco  Verla  e  gli  altri  piUori  della  sua  famiglia  in 
Arte,  xi,  1908;  A.  Foratti,  Bartolomeo  Montagna,  Padua,  1908;  G.  A.  Averoldi,  Le  scelle 
piUure  di  Brescia,  Brescia,  1700;  Chizzola,  Le 
pittare  e  scolture  di  Brescia,  Brescia,  1760;  G.  B. 
Carboni,  Le  pittare  di  Brescia,  Brescia,  1 760 ; 
A.  Sala,  Pittare  di  Brescia,  Brescia,  1834;  S. 
Fenaroli,  Dizionario  degli  artisti  bresciani,  Brescia, 
1877;  F.  Odorid,  Guida  di  Brescia,  Brescia, 
1882;  M.  Caffi,  Raffaello  di  Brescia  maestro  di 
le^nanK  del  sec.  XVI,  Milan,  1882;  P.  Rizzini, 
Illustrazione  dei  Musei  di  Brescia,  Brescia,  1 889- 
1896;  Jacobsen,  Die  Gemdlde  der  einheimischen 
Malerschule  in  Brescia  in  Jahrbuch  d.  Koniglich. 
Preuss.  Kunstsamml.,  xvii,  19  ;  G.  Solitro,  Benaco, 
Said,  1897  ;  G.  Solitro,  //  lago  di  Garda,  Bergamo, 
1894;  C.  J.  Ffoulkes  and  R.  Maiocchi,  Vincenzo 
Foppa  of  Brescia,  London,  1 909 ;  F.  Malaguzzi 
Valeri,  //  Foppa  in  una  recente  publicazione  in 
Rassegna  d'Arte,  May,  1909,  84  et  seq.;  P.  Eich- 
holz-Wiesbaden,  Vom  Palazzo  Municipale  zu 
Brescia  in  Zeitschrift  filr  bildende  Kunst,  1900, 
235 ;  A.  Mercanti,  La  Rotonda  di  Brescia  in 
Emporium,  vu,  1908;  U.  Papa,  L'architetto  Giulio 
Todeschini  di  Brescia  ( 1 524- 1 603)  in  Emporium, 
xiii,  1901  ;  U.  Papa,  //  genio  e  le  opere  di  Ales- 
sandro  Bonvicini — //  Moretlo,  Bergamo,  1898; 
Da  Ponle,  L'opera  del  Moretto,  Brescia,  1898; 
U.  Fleres,  La  Pinacoteca  dell'Ateneo  di  Brescia 
in  Gallerie  nazionali  Haliarte,  iv,  1899;  P.  Mol- 
menri,  //  Moretto  da  Brescia  in  Nuooa  Anto- 
logia,  June,  1 908 ;  Ransonnet,  A  lessandro  Bon- 
vicino,  Brescia,  1845  ;  W.  Bode,  Die  Ausbeute  aus 

den  Magazinen  der  Koniglichen  Gemdlde  Gallerie  zu  Berlin  in  Jahrb.  der  Ksnigl.  Preuss. 
Kunstsamml.,  vii,  243;  F.  Niccoli  Crisdani,  Della  oita  e  delle  pitture  di  Lattanzio  Gambara. 
Memorie  sloriche,  aggiuntevi  brevi  notizie  intorno  ai  piU  celebri  pittori  bresciani,  Brescia,  1907; 
F.  M.  Tassi,  Vite  di  pittori,  scultori  ed  architetti  bergamaschi,  Bergamo,  1793;  P.  Molmenti,  / 
pittori  bergamaschi  a  Venezia  in  Emporium,  xvii,  1903;  A.  Pasta,  Le  pitture  notabili  di  Ber- 
gamo, Bergamo,  1775;  A.  Mazzi,  Topografia  di  Bergamo,  Bergamo,  1870;  L'Arte  in  Bergamo, 
Bergamo,  1897;  G.  Secco  Suardo,  //  palazzo  delta  Ragione  in  Bergamo,  Bergamo,  1901  ;  V. 
Muzio,  /  Fantoni  intaglialori,  scultori  e  architetti  bergamaschi  in  Arte  italiana  decorativa  e 
industriale,  1898;  M.  Caffi,  Raffaello  Bergamasco  in  Arch.  Veneto,  Series  ii,  xxviii,  p.  1  ;  A.  G. 
Meyer,  Die  Colleoni  Capelle  zu  Bergamo  in  Jahrb.  der  Konigl.  Preuss.  Kunstsamml. ,  xv,  5 : 
F.  Malaguzzi- Valeri,  G.  A.  Amadeo,  Bergamo,  1904:   P.  Molmenti,  G.  B.  Tiepolo,  Milan,  19C9. 


FIG.    2o8. — PORTRAIT   OF   A    YOUNG 
ARTIST.       (fRA   VITTORE  GHISLANDI.) 

Accademia  Carrara,  Bergamo. 


PIG.   209. — FACADE  OF  THE  COI.LEONI 
CHAPEL,    BERGAMO. 


127 


FIG.    2IO. — PANORAMA   OF   MILAN. 


CHAPTER   X 
MILAN  AND  LOMBARDY 


Relics  of  Roman  Milan. — Lombard  Architecture. — S.  Amhrogio.- — Gothic  Style  in  Milan. — 
The  Cathedral. — Sculptors  in  Milan. — Milan  under  Francesco  Sforza. —  The  Castello. — 
The  Solari. — Michelozzo. — Bramanle  at  Milan. — Disciples  of  Bramante. — Monuments  of 
Gaston  de  Foix,  and  of  Lodovico  II  Moro  and  Beatrice  d'Este. 

We  now  come  to  the  great  Lombard  capital.  It  is  no  doubt  true 
that  in  the  course  of  centuries  Milan  has  suffered  many  outrages 
and  undergone  various  transformations ;  but  the  sacred  and  civil 
monuments  that  still  remain,  the  museums,  the  collections  of  pictures, 
both  public  and  private,  vv^ould  suffice  in  themselves  to  ennoble  any 
city.  Yet  the  bulk  of  the  travellers  vv^ho  visit  Milan  look  upon  it 
merely  as  an  industrial  centre,  the  chief  features  of  which  are  the 
Galleria  (Arcade)  with  its  glass  roof,  the  ring  of  smoking  factory 
chimneys,  the  busy  ferment  of  the  streets,  the  numerous  theatres, 
and  the  wealth  of  the  houses  and  the  shops. 

Relics  of  Roman  Milan  are  found  from  time  to  time  under  the 
soil ;  there  are  many  fragments  of  sculpture  in  the  Museums,  and 
the  displaced  columns  of  S.  Lorenzo  are  still  preserved  (Fig.  211). 
The  Milan  of  Byzantine  times  survives  in  the  framework  of  this 
same  church  of  S.  Lorenzo  (Fig.  2 1 2),  the  mosaics  of  S.  Aquilino, 
and  those  in  the  chapel  of  the  building  formerly  known 
as  the  Basilica  Fausta,  but  now  as  S.  Satiro  e  S.  Vittore  "  in-ciel- 
d'oro" {wiih  the  golden  ceiling),  adjoining  the  church  of  S.  Ambrogio; 
to  say  nothing  of  some  relics  in  the  treasuries  of  churches.     But 

128 


MILAN  AND  LOMBARDY 


-COLUMNS   OF    S.    LORENZO,    MILAN. 

{Plwlo.  Brogi.) 


these  remains  give  us  a  very  imperfect  notion  of  the  importance  of 
Milan,  first  under  the  Romans,  and  then  from  the  time  of 
St.  Ambrose  (who  died  as 
bishop  in  397)  dovv^n  to 
about  the  eighth  century. 
The  examples  of  subse- 
quent centuries,  on  the 
other  hand,  fully  justify 
the  fame  of  the  great  and 
glorious  capital  in  history. 
So  abundant  indeed  are 
these  remains,  both  in  the 
city  and  in  the  surrounding 
district,  that  they  have 
given  rise  to  the  term 
Lombard  architecture,  a 
term  somewhat  wanting  in 
precision,  however,  seeing 
that  these  buildings,  in  spite  ot  certain  special  characters,  none  the 
less  form  an  integral  part  of  the  great  Romanesque  activity,  at  that 
time  common  to  the  whole  of  central  Europe.  Among  the  churches 
of  Milan,  built  in  this  style,  the  most  important,  in  many  respects, 
is  doubtless  S.  Ambrogio  (Figs.  213,  214,  and  215),  but  the 
burning  problems  that  are  still  under  discussion  concerning  the 
date  of  this  church  do  not  encourage  one  to  deduce  fixed  canons 

for  the  history  of  architec- 
ture and  constructive  prin- 
ciples from  this  example. 
There  can  be  no  doubt, 
however,  that  one  of  the 
most  remarkable,  complete 
and  picturesque  examples 
of  Romanesque  architec- 
ture is  to  be  found  in  this 
church,  with  its  quadri- 
porticus,  its  towers,  its 
three  vaulted  naves  each 
ending  in  an  apse,  its 
clustered  piers,  its  round- 
headed  arches,  its  octago- 
nal cupola,  its  altar  surmounted  by  the  ciborium,  and  its  general  rich- 
ness of  ornamental  detail.     Milan  has  preserved  very  few  relics  of 

129  K 


■'5  li  -riii^^  '£  i 

^mm 

■pk*-     ^'^^'^j^^^^^B^ 

-CHURCH  OF  S.  LORENZO,  MILAN. 

(Photo.  Brogi.) 


ART  IN  NORTHERN  ITALY 


213. — CHURCH    OF    S.    AMBROGIU,    MILAN. 

{Photo.  Alinari.) 


the  Communal  period,  a  period  memorable  for  the  heroic  struggle 
against  Frederick  Barbarossa ;    but,  as  a  compensation,  this  litde 

comprises  some  civic  build- 
ings, a  class  of  buildings 
that  as  a  rule  have  at  all 
times  been  the  first  to 
suffer.  The  arches  of  the 
Porta  Nuova  and  the  Pa- 
lazzo della  Ragione,  belong 
to  this  period. 

The  so-called  Gothic  style 
took  root  slowly  in  Milan, 
but  its  acceptance  is  illus- 
trated by  a  building  of  the 
first  importance,  a  building 
that  still  remains  to  bear 
witness  to  the  fame  of  the 
Visconti ;  we  mean,  of 
course,  the  Cathedral  (Figs.  216,  217  and  218).  Gian  Galeazzo 
began  the  mighty  work  in  1 386,  and  in  the  construction  Italians  and 
foreigners  worked  in  harmony.  Andrea  degli  Organi  from  Modena 
first  constructed  a  model  of  the  church,  and  his  son  Filippino 
became  later  the  chief  architect,  a  post  which  he  held  while  the 
great   pillars   were   completed,   the   vaults   and  buttresses  erected, 

and  a  first  instalment  of 
the  world  of  statues  that 
crown  them  set  up.  The 
fifteenth  century  closed 
with  the  completion  of  the 
central  tower,  save  for 
the  final  pinnacle,  which 
was  only  added  in  1774. 
Coming  into  existence  out 
of  due  time  and  place,  the 
Cathedral  of  Milan  ex- 
hibits some  grave  defects 
both  in  style  and  struc- 
ture ;  but  it  has  merits  of  its 
own,  above  all  picturesque 
ones,  in  the  vigorous  way 
n  the  variety  of  complicated 
looked    upon    from    different 


FIG.    214. — FACADE    AND    QUADRIPORTICUS, 

S.  AMBROGio,  MILAN.     (Pholo.  Alinari.) 


the  whole 
groupings 


mass  sprmgs  up, 
that     it     offers 


and  i 
when 
130 


MILAN  AND  LOMBARDY 


FIG.    215. S.   AMBROGIO,   MILAN.       INTERIOR. 

(Photo.  Brogi.) 


points  of  view.      Taken   as   a   whole   we   have   in   it   a    monu- 
ment unique  of  its  kind  and  of  singular  fascination. 

Now  it  is  just  this  sin- 
gularity that  has  prevented 
the  Duomo  of  Milan  from 
becoming  what  the  cathe- 
drals in  other  cities  natu- 
rally became — the  type 
that  is  repeated  in  the 
lesser  churches.  While 
in  Rome,  around  the 
dome  of  St.  Peter's,  there 
rises  a  choir  of  minor 
cupolas,  which  in  a  greater 
or  lesser  degree  resemble 
their  great  prototype,  in 
Milan  there  is  nothing  in 
the  whole  extent  of  the  vast 

city  to  echo  the  outline  of  the  cathedral.     The  great  mass  rises  in  soli- 
tude, the  source  of  profound  emotion  rather  than  of  artistic  satisfaction. 

There  are  indeed  in  Milan  no  other  sacred  edifices  in  the  Gothic 

style,    with    the    exception    of    the  . 

graceful  tower  of  S.  Gottardo  (Fig. 
219),  built  by  Maestro  Francesco 
dei  Pecorari  of  Cremona  (1330).  In 
the  case  of  other  churches,  such  as 
S.  Eustorgio,  S.  Simpliciano,  S. 
Marco,  etc.,  either  the  Gothic  ele- 
ments have  been  distributed  in 
various  ways  upon  a  basis  of  Roman- 
esque work,  or  else  they  have  been 
transformed  as  a  result  of  drastic 
alterations.  So,  again,  of  the  many 
civil  buildings  in  the  Gothic  style 
there  are  but  few  examples  left ; 
among  those  that  have  survived 
mention  should  be  made  of  the 
Loggia  degli  Osii  (Fig.  220), 
erected  by  Matteo  Visconti  in  1316, 
and  of  the  Palazzo  Borromeo. 

In  Milan,  as  in  Venice,  the  work  of  the  sculptor  was  developed 
in  subjection  to  the  necessities  of  architecture,  in  this  differing  from 

131  k2 


Fir,.    2X6. — PINNACLES   OF   THE 
CATHEDRAL,   MILAN.      (PholO.   Aliliari.) 


ART  IN  NORTHERN  ITALY 


the  course  of  development  in  Florence.     There   is   thus    no  need 
to  dwell  on  the  fact  that  the  cathedral  from  the  very  beginning 

became  an  important  field 
for  the  activity  of  sculptors, 
giving  opportunities  for  the 
manifestation  and  fusion  of 
the  most  diverse  sentiments. 
It  appeared  so  indispensa- 
ble and  urgent  that  the 
artists  engaged  in  the  work 
should  devote  the  whole 
of  their  efforts  to  the  ad- 
vancement of  the  great 
undertaking,  that  in  1396 
a  decree  was  issued  by  the 
Duke  forbidding  them  to 
leave  the  territory  of  Milan 
It  is  certainly  a  fact  worthy  of 
centuries  more  than  a  thousand 


FIG.    217. — CATHEDRAL,  MILAN.      {PholO.  AUnaH.) 


and  to  seek  for  work  elsewhere, 
note   that   in   the   course   of   five 
sculptors  (many  of  whom  were  also  engineers  and  architects)  were 
engaged  in  the  work,  and  among  these  men  we  meet  with  many 

names  of  the  highest  distinction. 
With  a  few  exceptions,  it  is  the 
northern  influence  that  is  the  most 
manifest  in  their  work.  The  noble 
art  of  Giovanni  di  Balduccio  of 
Pisa,  who  was  entrusted  by  the 
archbishop  Giovanni  Visconti  with 
the  carving  of  the  marble  shrine 
of  St.  Peter  Martyr  (1339)  in 
S.  Eustorgio,  made  but  little  im- 
pression in  Milan ;  its  influence 
was  confined  to  a  few  pieces  of 
sculpture,  such  as  the  story  of  the 
Magi,  some  parts  of  the  high  altar, 
the  tomb  of  Gaspare  Visconti,  and 
those  of  Stefano  and  Umberto  III. 
Visconti,  all  in  the  same  church ; 
and  in  addition  to  these,  the  reliefs 
above  the  Aliprandi  Monument  in 
S.  Marco  and  the  great  tomb  with  the  equestrian  statue  of  Barnabo 
Visconti,  now  in  the  museum  (Fig.  221).     Among  the  names  of 

132 


FIG.  2X8. — CATHEDRAL,    MILAN. 

{Photo.  Alinari.) 


I 


MILAN  AND  LOMBARDY 


FIG.    2ig. — BELL-TOWER, 
S.    GOTTARDO,    MILAN. 

{Photo.  Alinari.) 


artists  mentioned  in  connection  with  these  and  other  works 
scattered  throughout  Milan,  that  of  Bonino,  a  sculptor  from  Cam- 
pione,  often  recurs. 

Meantime  the  art  of  the  Renaissance  was 
daily  gathering  strength  and  influence,  and 
if  the  protection  given  by  the  Visconti  to 
art  and  letters  had  been  notable,  that  offered 
by  Francesco  Sforza,  a  man  of  ability  and 
a  favourite  of  fortune,  was  nothing  less 
than  magnificent.  At  his  court  he  wel- 
comed distinguished  humanists,  and  famous 
artists  such  as  Pisanello,  Aristotile  Fiora- 
vanti,  from  Bologna,  an  enterprising  archi- 
tect and  hydraulic  engineer,  who  died  in 
Russia  in  1486,  Michelozzo  Michelozzi 
(1396?- 1472),  Antonio  Averlino,  known 
as  Filarete  ( 1 400  ?- 1 469  ?)  and  others, 
whose  very  names  sufficiently  prove  that 
the  northern  influence  had  finally  and  com- 
pletely yielded  to  one  that  had  its  origin, 
more  particularly,  in  central  Italy.  The 
most  important  buildings  that  date  from  the 

time  of  Francesco  Sforza  are  the  Castello  (Fig.  223)  and  the 
Ospedale  Maggiore  (Fig.  224).  The  casde  that  Francesco  Sforza 
imposed  upon  the  people 
of  Milan,  rather  as  **  an 
ornament  to  the  city  "  than 
as  a  bulwark  of  defence 
against  enemies,  whether 
foreign  or  intestine,  was 
begun  by  him  in  1 450  on 
the  ruins  of  a  fortress  of 
the  Visconti,  destroyed 
three  years  previously. 
Among  the  earliest  of  those 
employed  in  its  construction 
we  find  one  Giovanni  of 
Milan,  and  later,  Filarete. 
Recent  researches  have 
tended    to   limit   the   part 

Elayed  by  this  last  artist,  and  the  design  of  the  tower  rebuilt  by 
.uca  Beltrami  in  1904  can  no  longer  be  attributed  to  him.     It  is 

133 


-LOGGIA    DEGLI    OSII,    MILAN. 

{Pholo.  Brogi.) 


ART  IN  NORTHERN  ITALY 


FIG.    221  . MONUMENT   TO    BARNABO 

VISCONTI.      (BONINO  DA  CAMPIONE.) 

Museum,  Milan.      {Photo.    Alinari.) 


to  him,  however,  that  we  owe  the 
oldest  part  of  the  Ospedale  Mag- 
giore,  a  portion  of  the  portico,  that 
is  to  say,  where  Filarete  gives  proof 
of  his  Florentine  origin  and  of  his 
faith  in  the  constructive  methods 
and  in  the  style  of  Filippo  Brunel- 
leschi  (Fig.  224).  The  treatment 
of  the  upper  part,  on  the  other 
hand,  reveals  a  different  sentiment 
and  a  certain  tardiness  in  the  appli- 
cation of  Renaissance  forms ;  this 
conservative  feeling  may  also  be 
noted  in  the  Castello,  where  the 
pointed  arch  prevails  in  the  richly 
moulded  windows,  encased  in  the 
square  frames  frequent  in  the  Vene- 
tian territory  and  in  many  parts  of 
Lombardy,  with  a  central  column 

ringed  half-way   up   in   fourteenth   century   style.      It   was    more 

especially  the  family  of  the  Solari 

who  made  use  of  this  transitional 

style,  half  Gothic  and  half  Renais- 
sance, spreading  above  the  ancient 

arches    and    beneath    the    ancient 

vaults     a     charming,      spring-like 

growth   of   foliage   and   of   flowers 

and    a    merry    dance    of    youthful 

forms.     Giovanni     was     employed 

between  1445  and  1481  on  many 

buildings,  among  them  the  Cathe- 
dral of  Milan,  the  Castle  of  Pavia 

and    the    fortifications     at    Pizzi- 

ghettone    and    Novara ;     his    son 

Guiniforte,  who  as  early  as   1459 

was  '*  engineer  "  to  the  cathedral, 

was  employed  later  on  at  the  Cer- 

tosa  of  Pavia ;    he  then  succeeded 

to  Filarete  at  the  Ospedale  Mag- 

giore,     where     he     executed     the 

beautiful  double-arched  pointed  windows.     Meanwhile,  as  might 

have  been  expected,  a  transformation  even  more  eager  and  solicitous 

134 


FIG.    222. — DOORWAY   OF  THE   BANCO 
MEDICEO,   MILAN. 

Now  in  the  Museum,  Milan. 


MILAN  AND  LOMBARDY 


-CASTLE  OF  THE  SFORZA,  MILAN. 

{Photo.  Alinari.) 


was  in  progress  in  the  art  of  sculpture,  thanks  once  more  to  those 

two   superlative   undertakings,    the   Cathedral   of    Milan    and    the 

Certosa    of    Pavia.     The 

Solari,  themselves,  as  we 

have  already  seen,  and  as 

we  shall  see  again  later  on, 

collaborated  in  both,  as  did 

also   the  members  of  the 

Mantegazza  family. 

Michelozzo,  on  the  invi- 
tation of  Pigello  Portinari, 
the  director  of  the  Banco 
Mediceo  at  Milan,  came 
to  the  city  from  Florence ; 
he  was  probably  the  sculp- 
tor of  the  doorway  of  the 
Bank  (Fig.  222),  with 
the  exception  of  the  four  lateral  figures.  To  him,  again,  must 
be  assigned  the  chapel  of  S.  Peter  Martyr  adjoining  (Fig.  225) 
the  church  of  S.  Eustorgio,  together  with  its  sculptural  decorations 
(1462-1470).  Lombard  elements  are  not  wanting  in  this  admi- 
rable building  ;  but  just  as  native 
painters  were  employed  in  the 
decoration,  so  native  sculptors  may 
have  had  their  share  in  the  orna- 
mental parts.  The  double  win- 
dows, with  their  candelabrum 
columns,  seem  to  justify  this  as- 
sumption. None  the  less,  this 
building,  both  as  regards  the 
general  aspect  and  in  its  various 
details,  provided,  as  it  were,  a 
refuge  in  Milan  for  the  Tuscan  art 
of  about  the  middle  of  the  fifteenth 
century — of  the  period,  that  is  to 
say,  when  the  architectural  forms 
that  had  their  origin  in  Brunel- 
leschi  and  their  climax  in  Giuliano 
da  Sangallo  were  carrying  all 
before  them.  The  cupola  of 
S.  Maria  delle  Carceri  at  Prato,  the  work  of  the  latter  architect, 
is  twin  sister  to  that  of  S.  Eustorgio. 

135 


FIG.  224. — OLD  PART  OF  THE 
GREAT  HOSPITAL,  MILAN.      (Photo.  Brogi.) 


ART  IN  NORTHERN  ITALY 


[     3^^:^^^-     1 

FIG.  225. — CHAPEL  OF  S.  PETER  MARTYR, 
S.  EUSTORGIO,  MILAN. 

{Photo.  Alinari.) 


The  successors  of  Francesco 
Sforza  did  not  fall  behind  him  in 
the  patronage  of  art.  In  the  first 
place  we  have  Galeazzo  Maria, 
eager  for  display,  who,  while  he 
himself  was  erecting,  or  urging 
others  to  erect,  palaces,  monasteries, 
and  churches,  laid  heavy  burdens 
{gravezze)  on  the  citizens  to  pro- 
vide for  the  paving  of  the  streets 
and  for  the  adornment  of  the  build- 
ings. Many  were  the  distinguished 
artists  who  flocked  at  this  time  to 
the  great  city. 

The  arrival  of  Bramante  at  Milan 
may  be  referred  to  the  year  1474 
or  thereabouts.  He  was  at  that 
time  thirty  years  old  and  came  from 
Urbino,  a  brilliant  centre  of  art  and 

culture.     There  he  had  been  the  companion  of  a  numerous  band 

of  artists,  among  whom  Luciano  da  Laurana,  Paolo  Uccello,  Pier 

della   Francesca,   Justus  of  Ghent,   and   Melozzo   da   Forli,   were 

the  most  notable.     It  was  from  Luciano,  no  doubt,  that  Bramante 

had  derived  his  taste  for  architecture,  from  Pier  della  Francesca 

and    Melozzo    his    interest    in 

perspective ;     and    these    com- 
bined to  give  to  his  painting — 

the  art  he  originally  practised 

— its     absolutely     monumental 

character.      We    have    records 

of  many  paintings  executed  by 

him  in  Rome,  at  Bergamo,  and 

especially  in  Milan,  but  at  the 

present  day  all  that  survive  are 

the  Scourging  of  Christ  in  the 

Cistercian  Abbey  of  Chiaravalle 

(built  between  1135  and  1 22 1 ), 

the  Argus  in  the  Sforza   Cas- 

tello,    and    the    eight    frescoes 

from  the  Casa  Panigarola,  now 

in  the  Brera  (Fig.  226).     These  works,  however,  suffice  to  prove 

that  if  Bramante  had  persevered  in  the  art  of  painting,  he  would 

136 


fig.  226. — the  man  with  the  h albert. 

(bramante.) 

Brera,  Milan.     (,Pho/o.  Brogi.) 


MILAN  AND  LOMBARDY 


i 

JL 

..i^^-f**-^ 

1  <^^ 

f^^ 

r,.    227. — CHURCH,    CASTIGLIONE 

d'olona.     {Pholo.  Alinari.) 


have  taken  his  place  beside  the 
greatest,  so  thorough  is  his  mastery 
of  form,  so  certain  his  drawing,  so 
Hmpid  his  chiaroscuro,  so  pro- 
nounced the  grandeur  and  energy 
of  his  conceptions ;  these  are  gifts 
which  proclaim  a  temperament  akin 
to  that  of  Luca  Signorelli  and  of 
Michelangelo.  But  Bramante  pre- 
ferred to  devote  himself  to  archi- 
tecture, an  art  in  which  he  so  ex- 
celled as  to  win  for  himself  the  title 
of  reformer,  a  title,  however,  which 
he  hardly  deserves,  seeing  that  he 
rather  continued,  strengthened,  and 
amplified  the  principles  revived  by 
Brunelleschi  and  followed  by  Leon 
Battista  Alberti  and  by  Laurana. 
Nevertheless,  Bramante  takes  his  place  as  one  of  the  greatest  artists, 
not  only  of  his  day  but  of  all  time,  and  he  fixed  once  for  all  in 
Lombardy  the  new  type  of  architecture  which  had  already  mani- 
fested itself  in  the  Chiesa  di  Villa  (Fig.  227)  at  Castiglione  d'Olona, 
and  at  Milan,  in  the  works  of  Filarete,  of  Michelozzo,  and  also 
of  Amadeo.     We-  cannot  here  enquire  into  the  vexed  question  of 

attributions  that  have  arisen 

concerning  Bramante's 
work.  He  is  assuredly  not 
the  author  of  some  delicate 
buildings  in  the  Tuscan 
style,  such  as  the  Cancel- 
leria  in  Rome,  that  contrast 
so  markedly  with  the  essen- 
tially Roman  firmness  and 
robustness  of  his  little 
church,  S.  Pietro  in  Mon- 
torio,  or,  again,  with  the 
marble  casing  of  the  House 
of  Nazareth  at  Loreto,  both 
undoubtedly  by  the  master. 
However,  there  is  a  deficiency  of  documentary  evidence,  and  as  a 
consequence  an  atmosphere  of  uncertainty  about  the  work  of 
Bramante  during  the  Milanese  period,  as,  indeed,  about  his  life  in 

137 


FIG.    228. — CANUMCA    Of    S.    AlIBKOt.KJ,    MILAN. 

(Photo.  I.  I.  d'Arli  Grafiche.) 


ART  IN  NORTHERN  ITALY 


FIG.    229. — CHURCH   OF   S.   MARIA   DELLE   GRAZIE, 

MILAN.     (Photo.  Brogi.) 


general.     The  only  works  we  can  confidently  ascribe  to  him  are  the 
portico  of  the  Canons'   residences  at  S.   Ambrogio   (Fig.   228), 

with  the  knotted  columns 
like  barked  tree  trunks, 
and  the  church  of  S.  Satiro 
(Fig.  230),  with  the  inge- 
nious perspective  of  the 
choir,  and  its  sacristy, 
notable  for  the  grace  with 
which  the  constituent  parts 
are  harmonised,  and  for 
its  rich  vesture  of  orna- 
ment (Fig.  231).  The 
bridge  over  the  moat  of  the 
Castle  (Ja  Ponticella),  as- 
cribed to  him  by  Cesariani, 
has  undergone  notable 
transformations  in  the  course  of  time.  Only  hypothetically,  and  in  the 
face  of  serious  opposition,  can  the  name  of  Bramante  be  associated 
with  the  cupola,  the  apse  and  the  door  of  S.  Maria  delle  Grazie  (Fig. 
229),  or  with  certain  cloisters,  such  as  those  now  incorporated 

in  the  Military  Hospital,  or  those  of 
S.  Radegonda. 

If,  however,  we  must  come  to 
the  conclusion  that  many  of  the 
buildings  given  to  Bramante  in 
Milan  are  either  of  doubtful  attri- 
bution or  manifestly  not  by  him, 
it  must,  on  the  other  hand,  be 
pointed  out  that  he  left  some  in 
Lombardy  which  are  authenticated 
by  documents  as  well  as  by  their 
style ;  for  instance,  the  fa9ade  of 
the  Cathedral  of  Abbiategrasso 
(Fig.  232)  with  its  vast  portico, 
somewhat  similar  to  that  of  S. 
Andrea  at  Mantua  built  by  Leon 
Battista  Alberti ;  the  litde  cloister 
of  the  Chapter  House  in  the  Cer- 
tosa  of  Pavia,  certain  parts  of  the 
Cathedral  of  Como,  and  the  church  of  Santa  Maria  di  Canepanova 
at  Pavia,  which,  although  begun  in  1492,  was  not  finished  till  some 

138 


FIG.  230.- 


-ROTONDA  OF  S.  SATIRO,  MILAN. 

{Photo.  AHnari.) 


MILAN  AND  LOMBARDY 


no.    231. — SACRISTY   OF  S.   SATIRO,  MILAN. 

{Pholo.  Brogi.) 


time  after  Bramante's  death ;  again 
the  loggias  of  the  castle  of  Vigevano, 
and  the  tower  that  was  buih  upon 
the  model  of  other  Lombard  ex- 
amples, including  that  in  the  casde 
at  Milan  ascribed  to  Filarete,  are 
by  Bramante.  There  is  no  need 
to  add  that,  through  the  length 
and  breadth  of  Lombardy,  many 
buildings  in  which  he  had  no  hand 
are  assigned  to  him,  showing  that 
in  art,  as  in  other  matters,  "  to 
him  that  hath  shall  be  given." 

It  is  an  obvious  corollary  that 
the  influence  of  Bramante,  whether 
exercised  direcdy  or  indirecdy,  was 
very  great.  Approximating  to  him, 
or  faithful  to  him  in  matters  of  art, 
were  Giovanni  Giacomo  Dolcebono  (d.  1  506),  the  architect  of  S. 
Maria  presso  S.  Celso  (altered  later  by  Cristoforo  Lombardi),  and 
perhaps  of  the  magnificent  church  of  S.  Maurizio  al  Monastero 
Maggiore  (Fig.  233),  which,  in  its  turn,  underwent  changes  in  the 
course  of  its  erection ;  Giovan  Bat- 
tista  Battagio  of  Lodi,  the  builder 
of  S.  Maria  della  Croce,  near  Crema 
(Fig.  235),  and,  together  with  Dolce- 
bono, of  the  Incoronata  at  Lodi  (Fig. 
234),  still  beautiful  in  spite  of  badly 
executed  restorations  ;  Francesco  da 
Briosco,  and  Bartolomeo  Suardi, 
called  Bramantino.  Cesare  Cesariani, 
too,  claimed  to  be  a  pupil  of  Bra- 
mante, but  at  the  time  when  Bramante 
left  Milan,  he  could  have  been  hardly 
more  than  sixteen  years  old.  Cesar- 
iani, in  I  52 1 ,  wrote  a  commentary 
on  Vitruvius ;  seven  years  later  he 
was  entrusted  by  Charles  V.  with 
the  fortification  of  a  part  of  the 
Castello  ;  finally  he  devoted  himself 
to  the  Cathedral,  and  it  was  he  who  completed  the  interior  as  we 
see  it  now:    he  died  in   1543.     Cristoforo  Solari,  again,  in  the 

139 


FIG.  232. — CATHEDRAL,  ABBIATEGRASSO. 


ART  IN  NORTHERN  ITALY 


WlHni>HWrii    ^ ' 


FIG.    233. INTERIOR    OF    SAN   MAURIZIO, 

MILAN.     {Photo.  Alinari.) 


portico  of  S.  Maria  presso  S.  Celso,  showed  himself  to  be  a  follower 

of  Bramante,  and,  here  and  there,  in  certain  of  their  productions, 

we  must  reckon  as  his  disciples 
some  other  artists,  who,  as  was  the 
case  with  Solari,  are  better  known 
as  sculptors — Amadeo,  Benedetto 
Briosco,  and  Tommaso  Rodari  of 
Como,  who,  together  with  his 
brothers,  Giacomo  and  Bernardino, 
executed  almost  all  the  marble 
decorations  of  the  cathedral  of 
Como  (Fig.  236). 

There  is  little  of  the  work  of  the 
Mantegazza  to  be  found  in  Milan, 
if  we  except  the  fragments  from 
the  faqade  of  S.  Satiro  which  have 
been  brought  together  in  the 
Museum.  Giovanni  Antonio 
Amadeo  left  more  traces  in  the 
great  city,  for  he  took  part  in  the 
further  extension  of  the  Ospedale 

Maggiore,    collaborated   with   Dolcebono   in    the   erection   of   the 

central  tower  (p.  1 30)  that  rises  above  the  cathedral,  and  executed 

various  works  of  sculpture,  now  for  the  most  part  detached  from 

their     original    positions    and 

preserved  in  the  Museum. 
Other    artists  whose  works 

have  for  the  most  part  perished 

or  disappeared  were  Tommaso 

and  Francesco  Cazzaniga,  fol- 
lowers of  Amadeo  in  the  Brivio 

tomb    in    S.    Eustorgio   (Fig. 

237);     and    Andrea  Fusina, 

whose  sepulchral  monument  of 

the  archbishop  Birago  ( 1 465) 

and    that  of  Battista  Bagaroto 

(1517)  have  survived,  one  in 

the     Chiesa     della     Passione 

(Fig.   238),   the  other  in  the 

Museum — he     may     also    be 

studied  in  some  of  the  cathedral  statues,  sedate  figures  in  the  classical 

style.     Cristoforo  Foppa,  known  as  Caradosso,  like  Ghiberti,  like 

140 


FIG.    234. — CHURCH   OF  THE   INCORONATA, 

LODi.     {Photo.  Alinari.') 


MILAN  AND  LOMBARDY 


FIG.  235. — S.  MARIA  DELLA  CROCE,   CR£IIA. 

(Photo.  Alinari.) 


the  Mantegazza,  and  like  Cellini, 
passed  from  goldsmith's  work  to 
sculpture  on  a  large  scale,  visiting 
in  turn  the  principal  artistic  cen- 
tres of  Italy.  Born  in  the  Brianza 
country,  we  find  him  while  still 
little  more  than  a  lad  at  Rome ; 
then  at  Milan,  at  Florence,  and 
then  at  Rome  again ;  and  wherever 
he  went  he  was  busy  collecting 
precious  stones  and  antiquities. 

The  minute  work  of  the  gold- 
smith and  the  diligent  search  for 
these  litde  treasures  did  not  in 
any  way  hamper  the  energy  of 
Caradosso's  art,  an  energy  which 
is  lacking  in  the  work  of  Agostino 
Busti,  known  as  Bambaia  (d. 
1 548)  ;  many  of  this  artist's  works 
have  indeed  been  preserved,  but  we  must  all  lament  the  dismember- 
ing of  the  sepulchral  monument  of  Gaston  de  Foix  (1515-1521, 

Fig.  239),  as  well  as  that  of  the 
Birago  tomb  (I  522),  formerly  in  the 
church  of  S.  Francesco  Grande.  As 
an  artist  he  is  full  of  charm,  and 
the  wealth  of  his  composition,  to- 
gether with  the  grace  of  the  indi- 
vidual figures,  at  first  fills  one  with 
admiration ;  but  he  does  not  stand 
the  test  of  prolonged  study,  for  his 
fertility  often  becomes  extravagance, 
and  his  grace,  effeminacy.  Bambaia 
had  already  fallen  into  mannerism 
before  the  inheritors  of  the  natural- 
ism of  the  Mantegazza  and  of 
Amadeo  had  reached  their  goal. 

Perhaps  the  artist  who  made  the 
greatest  advance  was  Cristoforo 
Solari,  known  as  II  Gobbo  (born 
before  1460,  died  1527).  He  be- 
gan by  adding  an  element  of  breadth  and  beauty  to  the  traditional 
forms  of  Lombard   sculpture ;  he   was   able  to   give   a   breath   of 

141 


:,  r 

j>^aKt^ 

^ 

r 

1 

1 

:iiL 

■1' 

'  J 

FIG.    236. — SIDE   DOOR,    CATHEDRAL, 

coMO.     (Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


FIG.    237. BRIVIO   MONUMENT, 

EUSTORGio,  MILAN.     (Photo.  AHftari.) 


idealism  even  to  figures  treated  in  the  most  naturalistic  spirit,  as  we 
may  see  in  the  statues  on  the  tombs  of  Lodovico  il  Moro  and  of 

Beatrice  d'Este.  But  the  influence 
of  Leonardo  in  the  first  place,  and 
then  his  journeys  to  Rome,  led  him 
astray  from  his  true  path,  and  carried 
him  on  to  attempt  an  amplitude  and 
grace  in  his  modelling  which,  being 
foreign  not  only  to  his  own  tempera- 
ment, but  to  that  of  Lombard  art  in 
general,  degenerated  into  an  inflated 
style,  soft  and  nerveless  (Fig.  240). 


BIBUOGRAPHY  OF  CHAPTER  X 

—  Vasari,  Vile;  Cicognara,  Storia  Jella  sculturax 
A.  Ricci,  Storia  deWarchUeitura;  V.  Eilberger, 
Mitlelalterl.  Denkmaler  des  osterreichischen  Kaiser- 
staates,  Stuttgart,  1 860 :  O.  Sliehl,  Der  Backstein- 
bau  romanischer  Zeit  besonders  in  Oberitalien  und 
Norddeulschland,  Leipsic,  1 898 ;  Paolo  Maggi, 
Sommario  delle  cose  mirabili  di  Milano,  Milan, 
1909;  F.  Cassina,  Le  fabbriche  piU  cospicue  di 
Milano,  Milan,  1840;  G.  Mongeri,  L'artein 
Milano,  Milan,  1872:  C.  Romussi,  Milano  nei  suoi  monumenti,  Milan,  1875;  P.  Gauthier, 
Milan,  Paris,   1905;    E.  Verga,  U.  Nebbia,    E.   Marzorati,    Guida  di  Milano,  Milan,   1906; 

F.  Malaguzzi-VeJeri,  Milano,  Bergeuno,  1906; 
Meyer,  Oberitalienische  Fruhrenaissance.  Bau- 
ten  und  Bildtverke  der  Lombardei,  Berlin,  1900; 

G.  Ferrario,  Memorie  per  servire  alia  storia 
deH'archilettura  milanese,  Milan,  1 843 ;  G.  L. 
CeJvi,  Notizie  sulla  vita  e  sulle  opere  dei  prin- 
cipal! architetti,  scultori  e  piltori  che  fiorirono  in 
Milano  durante  il  govemo  dei  Visconti  e  degli 
Sforza,  Milan,  1865;  M.  Caffi,  Di  alcuni 
maestri  d'arte  nel  secolo  XV  in  Milano  in 
Archhtio  Storico  lombardo,  V,  MHan,  1878;  A. 
Bertolotti,  Artisti  tombardi  a  Roma  nei  secoli 
XV-XVII,  Milan,  1881  ;  F.  Dartein,  L'Arcbi- 
teciure  lombarde.  Paris,  1892:  G.  Moretti, 
L'architettura  civile  del  secolo  XV  in  Milano  e 
la  casa  dei  Missaglia,  Milan,  1902;  G.  T. 
Rivoira,  Le  origini  dell' architettura  lombarda, 
Rome,  1902-1908;  L.  Malvezzi,  Le  glorie 
deliarte  lombarda,  Milan,  1882;  G.  Merzario, 
L  'arte  lombarda  e  i  maestri  comacini,  Milan,  1 894; 
A.  Venturi,  Storia  dell'arte  italiana,  vols,  ii,  iii,  iv, 
V.Milan,  1901-1909;  L.  Bertrami,  La  basilica 
ambrosiana  primitiva  e  la  ricostruzione  compiuta 
nel  sec.  IX,  Milan,  1897;  Diego  Sant'Am- 
brogio,  Notizie  intorno  alia  basilica  di  S.  Am- 
brogio,  Milan,  1894  and  1907;  G.  B.  Toschi, 
Amhrosiana'm  Arte,\,  1898;  G.  Biscaro,  Nofee 
documenti  Santambrosiani,  Milan,  1904,  1905; 
G.  Moretti  and  U.  Nebbia,  La  conservazione 
dei  monumenti  della  Lomhardia,  Milan,  1908  J 
Ufficio  Regionale  dei  Monumenti  della  Lom- 
bardia,  //  Palazzo  delle  pubbliche  Ragioni  di  Milano,  Milan,  1907;  Annali  della  fahbrica  del 
duomo  di  Milano,  Milan,   1 887- 1 895 ;    G.  Carolti,   Vicende  del  duomo  di  Milano  e  della  sua 


FIG.    238. — MONUMENT  TO  DANIELE 
BIRAGO,  CHURCH  DELLA  PASSIONE,  MILAN. 


142 


MILAN  AND  LOMBARDY 


facciata  in  A  rchioio  Slorico 
dell'Arte.u,  1889;  C.Ro- 
mussi,  //  duomo  di  Milano, 
Milan,  1906;  Fr.  Mala- 
guzzi,  //  duomo  di  Milano 
nel  Quattrocento  in  Re- 
pertorium  fiir  Kunstwisxn- 
schafl,  xxiv,  1901  ;  Ugo 
Nebbia,  //  sarcofago  e  la 
statua  equestre  di  Barnabd 
Visconti.  Milan.  1908: 
Luca  Beltrami,  La  cappella 
di  S.  Pietro  Marti  re  presso 
la  basilica  di  S.  Eustorgio 
in  Milano  in  Archivio  Slo- 
rico dell' Arte,  v,  Rome, 
1892:  S.  M.  Vismara. 
Monasteri  e  monaci  olive- 


fig.  239. — figure  of  gaston  de  foix  on  his  monument. 

(bambaia.) 

Museum,  Milan.     {Photo.  Brogi.) 


tani  nella  diocesi  milanex,  Milan,  1907;  S.  Locari,  L'antica  sede  del  Comune  milanese  nella 
piazza  dei  Mercanti,  Milan,  190!  ;  L.  Testi,  La  forma  primitioa  delle  gallerie  lombarde  e  la 
Cappella  di  S.  Aquilino  nel  S.  Lorenzo  Maggiore  a 
Milano,  Messina,  1 902 ;  G.  Landriani,  S.  Maria  in 
Aurona,  Milan,  1902;  L.  Testi,  //  monaslero  e  la  chiesa 
di  S.  Maria  d' Aurona  in  L'Arte.  1904;  M.  Caffi,  S. 
Eustorgio,  S.  Pietro  Martire,  Nanni  Pisano  scultore, 
Milan,  1886;  P.  Fontana,  La  chiesa  del  Santo  Sepolcro  a 
Milano  in  Archivio  Slorico  dell' Arte,  1897:  C.  EJli,  La 
chiesa  di  S.  Maria  della  Passiorte  in  Milano,  Milan, 
1906;  I.  Gelli  and  G.  Moretti,  Cli  Armaroli  milanesi, 
Milan,  1908;  G.  Biscaro,  Giovanni  di  Balduccio  Albo- 
nelo  da  Pisa  e  Matteo  da  Campione  in  Archivio  Slorico 
lombardo,  xxxv,  1908;  A.  Schmarsow,  Meisler  Andrea, 
Berlin,  1883;  Mrs.  Ady,  Milan  and  the  Sforza,  Lx>ndon, 
1907;  G.  Clausse,  Les  Sforza  el  les  arts  en  Milanais, 
Paris,  1909;  L.  Beltrami,  Guida  del  Castello  di  Milano, 
Milan,  1894:  L.  Beltrami,  //  Castello  di  Milano,  Rome, 
1898;  L.  Beltrami,  //  Castello  di  Milano  sotto  il  dominio 
degli  Sforza,  Milan,  1 885 ;  L.  Beltrami,  La  vita  nel 
Castello  di  Milano  al  tempo  degli  Sforza,  Milan,  1900; 
L.  Beltrami,  Indagini  e  documenti  riguardanti  la  torre 
principale  del  Castello  di  Milano  ricostruita  in  memoria 
di  Umberto  I,  Milan,  1903;  P.  Canetta,  L'Ospedale 
Maggiore  di  Milano,  Milan,  1880-1887:  G.  Caimi, 
Notizie  storiche  del  grand'Ospedale  di  Milano,  Milan, 
1887:  L.  Corio,  Antonio  Filarete  da  Firenze  detto  Aver- 
lino  in  the  Politecnico,  Milan,  1873;  W.  von  Oettingen, 
Ueber  das  Leben  und  die  Werkfi  des  Antonio  Averlino 
genannt  Filarete  in  Beitrage  zur  Kunstgeschichle,  1890; 
M.  Lazzaroni  and  A.  Munoz,  Filarete,  Rome,  1908;  L. 
Pungileoni,  Memorie  intorno  alia  vita  e  alle  opere  di 
Bramante,  Rome,  1836:  M.  Caffi,  /  capi  d'arte  di  Bra- 
mante  d'Urbino  nel  Milanese,  Florence,  1 87 1  :  W.  von 
Seidlitz,  Bramante  in  Mailand  in  Jahrb.  d.  Kiinigl. 
Kunstsamml.,  1887;  L.  Beltrami,  Bramante  a  Milano  in 
Rassegna  d'Arte,  i,  Milan,  1901  :  C.  Ricci,  Gli  affreschi 
di  Bramante,  Milan,  1904:  L.  Beltrami,  Bramante  e  la 
ponlicella  di  Lodovico  il  Moro,  Milan,  1903;  G.  Carotti, 
Le  opere  di  Leonardo  Bramante  e  Raffaello,  Milan,  1905;  H.  von  Geymiiller,  The  School 
of  Bramante,  London,  1891  ;  G.  Barucci,  //  castello  di  Vigevano,  Turin,  1909;  L.  Beltrami, 
Notizie  sul  sepolcro  di  Gaslone  de  Foix  in  Rassegna  d'Arte,  ii,  Milan,  1902;  F.  Malaguzzi- 
Valeri,  /  Solari  architetti  lombardi  del  XV  secolo,  Berlin,   1906. 


FIG.    240. — ADAM,   CATHEDRAL, 
MILAN.      (C.   SOLARI.) 

(Photo.  Alinari.) 


143 


FIG.    241. ANNUNCIATION.       (LEONARDO    DA    VINCI.) 

Uffizi,  Florence.     (Photo.  Alinari.) 


CHAPTER   XI 
LEONARDO  DA  VINCI 

The  Reign  of  Lodooico  Sforza,  II  Mora. — Leonardo  da  Vinci  summoned  by  him  to  Milan. — 
Leonardo's  varied  aclioities. — Design  for  Equestrian  Statue  of  Lodovico. — Portraits. —  Virgin 
of  the  Rocks. —  The  Last  Supper. — Leonardo's  return  to  Florence. — Second  Sojourn  at 
Milan. —  Visit  to  France  and  death  at  Amboise. 

Meantime  the  history  of  the  Sforza  family  unfolds  itself  in 
mingled  splendour  and  tragedy.  The  great  Francesco  was  suc- 
ceeded by  Galeazzo  Maria  (1466)  who,  after  a  rule  of  barely  ten 
years,  fell  by  the  hand  of  conspirators,  leaving  a  boy  of  tender  age 
under  the  guardianship  of  his  widow.  Bona  of  Savoy,  while  the 
reins  of  the  government  were  entrusted  to  the  prudent  hands 
of  Cicco  Simonetta.  But  before  long  Lodovico  di  Francesco  Sforza, 
known  as  II  Moro  (Fig.  242),  entered  upon  the  scene.  Aiming 
at  supreme  power,  Lodovico  stirred  up  strife  between  Bona  and 
Simonetta ;  at  his  instigation  the  latter  was  beheaded,  and  Bona, 
with  her  sickly  and  semi-imbecile  son,  was  imprisoned  at 
Abbiategrasso. 

However,  if  these  ferocious  acts  show  a  dark  aspect  of 
Lodovico's  heart,  his  merits  as  a  ruler,  not  only  as  regards  politics, 
but  also  in  matters  of  art  and  science,  irradiate  his  public  life. 
He  was  indeed  diligent,  generous,  and  just,  and  he  raised  Milan 
to  equality  with  the  great  centres  of  the  Renaissance  ;  he  summoned 
to  his  court,  and  maintained  there,  the  most  eminent  men  of  the 
day  in  every  branch  of  knowledge  up  to  the  time  when,  caught 
in  the  net  of  his  own  political  intrigues  and  abandoned  by  fortune, 
he  twice  became  the  prey  of  the  French. 

144 


LEONARDO    DA   VINCI 


FIG.     242. PORTRAIT   OF   LODOVICO 

IL   MORO.       (BOLTRAFFIO.) 

Trivulzio  Collection,  Milan. 
{Photo.  Anderson.) 


It  was   thanks   to   II   Moro   that   the 

presence  of  Leonardo  shed  lustre  upon 

Milan,  already  the  abode  of  Bramante 

and  of  other  distinguished  artists ;    his 

patronage  of  such  a  man  would  alone 

have  sufficed  to  immortalise  the  prince, 

just  as  the  hospitality  offered  to  Dante 

has  ensured  fame  to  Guido  Polenta  of 

Ravenna.     Nevertheless,  we  are  filled 

with   perplexity   when   we    attempt   to 

follow  those  who  consider  the  dominant 

influence    of    Leonardo    on    the    art   of 

Lombardy   as   purely   beneficent  in   its 

results.     The  reason  for  this  hesitation 

must  be  explained   later  on ;    for   the 

present  let  us  say  a  word  of  the  man 

himself  and  of  his  life  at  Milan ;    the 

period,  indeed,  when  we  first  begin  to 

have    any    precise    knowledge    of    his 

works,    and   of   his   genius,  in   a   word,  of   his   multiplex,  not   to 

say  universal  activity.  Leonardo,  in 
truth,  did  not  devote  himself  to  any 
single  art,  but  to  art  itself  in  every 
one  of  its  various  manifestations,  both 
aesthetic  and  scientific.  The  ideal 
of  a  perfect  and  complete  man  which 
was  peculiar  to  the  Italian  spirit, 
peculiar  in  an  even  greater  degree  to 
the  Renaissance,  had  never  been, 
nor  was  ever  again  to  be,  so  com- 
pletely exemplified.  All  the  aspects 
of  nature  and  all  the  expressions  of 
the  spirit  ot  man  attracted  him  in 
equal  degree  ;  he  yearned  to  investi- 
gate, to  study,  and  to  know  them  all. 
It  was  this,  perhaps,  that  hindered 
him  from  persevering  for  any  length 
of  time  in  any  work  undertaken  by 
him,  and  provoked  his  contempora- 
ries to  charge  him  with  inconstancy 

and  indolence,  a  charge  quite  inexplicable  to  us  when  we  examine 

the  huge  mass  of  his  manuscripts  and  recognise  the  profundity  of 

145  L 


FIG.  243. — DESIGN  FOR  AN  EQUESTRIAN 
STATUE.      (LEONARDO  DA  VINCI.) 

Windsor  Castle. 


ART  IN  NORTHERN  ITALY- 


FIO.    244. ANGEL. 

(AMBROGIO    DE    PREDIS.) 

National   Gallery,   London. 
(Photo.  Anderson.) 


his  researches,  or  when,  in  the  presence  of 
his  paintings,  we  note  that  the  perfection 
of  the  technique  is  equalled  by  the  beauty 
of  the  forms,  and  by  the  expression  of 
intimate  emotion. 

A  man  who  combined  with  such  com- 
manding merits  a  personal  bearing  full  of 
dignity  and  grace  was  not  likely  to  escape 
the  notice  of  a  prince  who  was  eager  to 
ennoble  his  court  by  summoning  to  it  all 
who  would  adorn  it  by  their  presence.  On 
the  other  hand,  Leonardo,  with  his  aristo- 
cratic tendencies  and  his  thirst  for  renown, 
would  naturally  have  preferred  a  life  of 
splendour  at  a  great  court  to  the  more 
modest  life  of  Florence,  at  that  time  dis- 
tracted with  envy  and  rancour. 

Leonardo's    wishes,    accordingly,    so    far 

agreed  with  Lodovico  Sforza's  that  in  1483 

he  took  his  departure  from  Florence,  where 

he  had  studied  and  worked  in  the  studio  of  Verrocchio,  and  where 

he  had  already  painted  the  Annunciation  of  the  Uffizi  (Fig.  241), 

and   sketched   out   (between    1481    and    I486)   the   Adoration  of 

the  Magi,  a  work  entrusted  to  him  by 
the  monks  of  St.  Donato  at  Scopeto. 
He  took  up  his  abode  in  Milan,  and 
from  this  time  forward,  though  busy 
with  designs  for  festivals,  and  with 
projects  for  hydraulic  works  and  for  the 
fortification  of  castles,  he  yet  found  time 
and  opportunity  to  devote  himself  to  his 
favourite  researches,  nor  did  he  disdain 
to  communicate  the  results  of  these  to 
the  friends  and  disciples  who  formed,  as 
it  were,  a  second  court  around  him. 

His  artistic  activity  embraced  at  that 
time  a  wide  field.  He  drew  up  plans  for 
secular  buildings  and  for  churches,  he 
modelled  in  clay,  and  he  painted.  He 
devoted  much  time  and  labour  to  the 
_  preparation  of  the  model,  as  well  as  of 

Louvre,  Paris.    {Photo.  Aiinari.)  large  preliminary  studies,  some  of  which 

146 


MG.     245. — THE     VIRGIN     OF     THE 
ROCKS.       (LEONARDO    DA    VINCI.) 


LEONARDO  DA  VINCI 


have  been   preserved  (Fig.   243),   for 

the  colossal  equestrian  statue  of  Lodo- 

vico  Sforza,   a  work  that  was  never 

cast ;    in  the  course  of  the  war  that 

preceded   the  ruin  of  the  Sforza  the 

model  was  brutally  destroyed  by  the 

French    crossbow-men.     The   fate   of 

his    pictures    was    little    better.     The 

portraits  he  painted  for  Lodovico  have 

disappeared.     The  female  portrait  in 

the  Louvre,  in  some  old  reproductions 

wrongly  identified  as  that  of  Lucrezia 

Crivelli,  and  entitled  La  Belle  Ferro- 

niere,    is   now    generally    assigned    to 

Boltraffio.     The  Virgin  of  the  Rocks, 

on  the  other  hand,  is  an  undoubted 

work  of  Leonardo,  and  the  contention 

as    to    whether    the    original    is    the 

painting  now  in  Paris  (Fig.  245)  or 

that  in  London  (Fig.   246)  must  be  decided  in  favour   of   the 

former. 

From  a  document  published  in  1893  we  learn  that  Leonardo 
and  his  pupil,  Ambrogip  de  Predis,  had  undertaken  to  provide  the 
Confraternity  of  the .  Conception  in  the  church  of  S.  Francesco 
at  Milan  with  a  carved  altarpiece,  with  the  Virgin  painted  in  the 


FIG.    246. THE    VIRGIN    OF    THE 

ROCKS.      (LEONARDO   DA   VINCI.) 

National  Gallery,  London. 
{Photo.  Anderson.) 


FIG.  247. THE  LAST  SUPPER.      (LEONARDO  DA  VINCI.) 

Refectory  of  S.  Maria  dclle  Grazie,  Milan. 

147 


L  2 


ART  IN  NORTHERN  ITALY 


FIG.    248. — FRAGMENT    OF    THE    LAST    SUPPER. 
(LEONARDO    DA    VINCL)       " 


centre  and  an  angel  on  either  side.     The  Virgin  (since  known  as 
delle  Roccie)  had  been  already  painted  by  Leonardo,  and  the  two 

angels  by  Ambrogio  de 
Predis  (Fig.  244).  The 
price,  as  agreed  upon 
beforehand,  was  to  be 
three  hundred  ducats,  of 
which  sum  one  hundred 
ducats  were  assigned  as 
payment  for  the  central 
part  executed  by  Leo- 
nardo ;  but  at  this  point 
the  valuers — the  stimatori 
— pronounced  in  favour 
of  a  drastic  lowering  of 
the  price ;  in  their  judg- 
ment the  Virgin  was  not 
worth  more  than  twenty-five  ducats.  Leonardo  naturally  protested, 
and  demanded  a  valuation  in  agreement  with  the  sum  originally 
bargained  for,  or  failing  this,  that  his  picture  should  be  returned  to 
him.  The  latter  course  was  finally  adopted  with  the  understanding 
that  De  Predis  should  substitute  for  Leonardo's  picture  a  copy, 
which  copy  in  course  of  time  found  its  way  to  London.  Though 
we  cannot  accept  as  Leonardo's  the  Musician  of  the  Ambrosian 
Collection  (Fig.  250),  nor  that  singular  arrangement  of  intertwined 
branches,  foliage  and 
shields  on  the  vaulted 
ceiling  of  the  Sala  delle 
Asse  in  the  Castello  (re- 
cently repainted),  never- 
theless, Milan  still  boasts 
the  most  important  work 
of  the  great  master.  The 
Last  Supper,  painted  by 
him  in  tempera  on  the 
wall  of  the  refectory  of 
S.  Maria  delle  Grazie 
between   1495  and   1497 

(Figs.  247-249).    This  is 

perhaps  the  most  famous 
picture  in  the  world,  and  the  one  that  has  been  most  often  repro- 
duced.    The  grandeur  of  the  whole  conception,  the  perfect  harmony 

148 


-FRAGMENT  OF  THE  LAST  SUPPER. 
(LEONARDO  DA  VINCI.) 


LEONARDO  DA  VINCI 


FIG.    250. THE   MUSICIAN. 

(.ASCRIBED    TO    L.    D.\    VINCI.) 

Ambrosiana  Gallery,  Milan. 
(Pholo.  Montabone.) 

He  found  employment 
of  Cesare  Borgia,  as  architect 


of  the  composition,  the  beauty  of  the 
forms,  the  dramatic  movements  of  the 
Apostles  at  the  terrible  words  of  the 
resigned  victim :  "  One  of  you  shall 
betray  me," — fully  justify  the  most  ardent 
and  enthusiastic  admiration.  On  either 
side  of  Jesus  are  tvsfo  groups  of  three 
figures ;  each  of  these  groups,  although 
marvellously  defined  and  complete  in 
itself,  is  linked  to  its  neighbour  by  the 
gestures  and  the  glances  of  the  individual 
Aposdes.  Everything  is  focussed  upon 
Christ,  the  central  figure  of  the  drama, 
hence  it  is  from  Him  and  to  Him  that 
every  gesture  and  every  emotion  pro- 
ceed and  return. 

Leonardo  remained  in  Milan  up  to 
the  year  1 499.  On  the  fall  of  Lodovico 
il  Moro  he  returned  to  his  native  land 
for  a  time,  it  is  true,  in  the  service 
and  military  engineer  (1 502),  and 
from  time  to  time  visited  Milan,  but 
for  some  years  Florence  v^as  the 
seat  of  his  artistic  activity.  It  was 
there  that  he  executed  the  cartoon 
of  S.  Anne  now  in  London  (Fig. 
25 1 ),  as  well  as  the  picture,  identical 
in  subject  but  differing  in  composi- 
tion, now  in  the  Louvre  (Fig.  252)  ; 
there,  too,  on  the  wall  of  the  Sala 
del  Consiglio  in  the  Palazzo  della 
Signoria,  he  began  the  Battle  of 
Anghiari,  and  there  he  painted  his 
marvellous  portrait  of  Monna  Lisa 
(Fig.  254),  the  wife  of  Francesco  del 
Giocondo  (1505),  and  perhaps  also 
the  St.  Jerome  in  the  Desert,  now  in 
the  picture  gallery  of  the  Vatican 
(Fig.  253). 

But  this  constant  occupation  did 
not  suffice  to  disguise  the  scanty  sympathy  he  felt  for  his  Florentine 
surroundings  and  the  nostalgia  that  kept  his  thoughts  fixed  upon  the 

149 


FIG.    251. — S.    .ANNE.       CARTOON. 
(LEONARDO   DA    VINCI.) 

Royal  Academy,  London. 


ART  IN  NORTHERN  ITALY 


more  congenial  city  of  Milan.     Thus  it  happened  that  in  1  506  he 
again  turned  his  steps  northward,   and  in  Milan  he  passed  most 

of  his  time  up  to  1516;  in  that 
year  he  accepted  the  invitation  of 
Francis  I.  to  come  to  France,  as 
court  painter,  with  an  annual  salary 
of  700  crowns.  Soon  after  this, 
however,  Leonardo  fell  into  bad 
health.  In  1519,  in  the  month  of 
April,  he  made  his  will  at  Cloux, 
near  Amboise,  and  there,  on  the 
2nd  of  May,  1  5 1 9,  he  passed  away 
in  the  presence  of  his  favourite 
pupil,  Francesco  Melzi  (1492- 
1570?),  to  whom  he  bequeathed 
many  of  his  belongings. 


BIBLIOGRAPHY    OF   CHAPTER   XI 


FIG.  252. THE  VIRGIN  AND  CHILD 

WITH  S.  ANNE.       (LEONARDO  DA  VINCI.) 

Louvre,  Paris. 


The  bibliography  of  Leonardo  comprises  in  itseif 
a  considerable  body  of  literature.  We  have  included 
here  a  selection  from  the  numerous  general  books  of 
reference  as  well  as  a  few  works  that  are  concerned 
with  the  most  characteristic  aspects  of  this  many- 
sided   genius.     Leonardo,    Codice    Atlantico,  published    by   the    Accademia    dei    Lincei,   Rome, 

1894,  el  seq.:    Raccolla  Vinciana.  Milan,  1905-1908:    G.  Seailles,  Leonardo  da   Vinci,  Paris, 

no  date;    J.  P.  Richter,  Leonardo  da  Vinci,  London,   1880;    E.  Muntz,  Leonardo  da  Vinci, 

English  ed.,   London,    1899;     G.   Uzielli,   Ricerche 

inlorno   a  Leonardo  da    Vinci,  Torino,    1896;    A. 

Rosenberg,    Leonardo    da     Vinci,    Leipsic,     1 898 : 

Selwyn  Brinton,  Milan,  Leonardo  and  his  Followers, 

London,  1900;  E.  Solmi,  Leonardo,  Rorence,  1900 

G.  Gronau,  Leonardo  da  Vinci,  London,  1902;   E. 

McCurdy,  Leonardo  da  Vinci,  Lx)ndon,   1904;    G. 

Carotti,  Le  opere  di  Leonardo,  Bramante  e  Raffaello, 

Milan,  1905;   R.  Home  and  H.  Gust,  Leonardo  da 

Vinci.  London,  1908;    J.  P.  Richter,  The  Lileraru 

Works  of  Leonardo  da  Vinci,  London,  1 882  :    Ch. 

Ravaisson,  Les  ecrits  de  Leonard  de  Vinci  in  Gazette 

des  Beaux  A  rts,  2  xxiii,  225 ;    Leonardo  da  Vinci, 

Frammenti  letierari  e  filosofici,  edited  by  E.  Solmi, 

Florence,    1899;     F.  Lippmann,  Lionardo  da   Vinci 

ah   Gelehrter  und   Techniker,   Stuttgart,    ]?00;     P. 

Muller-Walde,  Leonardo  da  Vinci,  Lehenskizze  und 

Forschungen,  Munich,  1 889-90  ;  O.  Sachs,  Leonardo 

da  Vinci  in  Wiener  Rundschau,  hrsg.  von  C.  Chris- 

tomanos    und   F.   Rappaport,   4  Jahrg.,   n.   4   and 

6;  J.  Strzygowski,  Studien  zu  Leonardo's  Entwicke- 

lung    als    Maler   in    Jahrb.    der    Konigl.    Preuss. 

Kunstsamml.,  xvi,    159;    Winterberg,  Lionardo  da 

Vincis  Malerbuch  und  seine   wissenschaftliche   und 

praktische  Bedeutung,  ibid.,  vii,   172;    L.  Beltrami, 

Leonardo  da   Vinci  negli  studi  per  il  tiburio   della 

cattedrale    di   Milano,    Milan,    1903;     L.    Beltrami, 

Leonardo    e     la     sola    delle    Asse,    Milan,     1  ?07 ; 

Champfleury,  Anatomic  du  laid  d'apres  Lionard  de 

Vinci  in  Gazette  des  Beaux  Arts,  2,  xix,  190;   G. 

Frizzoni,  La  Calerie  nationale  de  Londres  el  la  Vierge 


I 


FIG.    253 


.    JEROME.       (LEONARDO 
DA    VINCI.) 

Vatican  Gallery,  Rome. 


150 


LEONARDO  DA  VINCI 

aux  rochers,  ibid.,  2,  xxix,  230;  W.  von  Seidlitz,  La  Vergine  celle  Recce  di  Leonardo  da 
Vinci  in  L'Arte,  x,  1907;  Miiller-Walde,  Leonardo  da  Vinci  and  die  antike  Reiterstaiue  der 
Regisole.  Einige  Entviiirfe  Leonardo's  zum  Reilerdenkmale  /iir  dan  Giacomo  Trioulzio. 
Plaketten  des  Berliner  K.  Museums  nach  Studien  Leonardo's  zu  Reiterdenkmdlern  und  zur 
Darstellung  der  Reiterschlacht  oon  Anghiari  in  Jahrb.  d.  Konigl.  Preuss.  Kunstsamml.,  xx,  81  : 
Miiller-W^de,  Eine  friihe  Redaction  oon  Leonardo' s  Komposition  der  Madonna  mil  der  hi.  Anna 
und  dem  Lamm.,  ibid.,  xx,  54;  Miiller-Walde,  Einige  Ameeisungen  Leonardo's  f iir  den  unter- 
seeischen  Schiffskampf,  Taucherapparale  und  Torpedoboole.  Leonardo's  Erfindung  der  Schiffs- 
schraube,  ibid.,  xx,  60:  Ufficio  Regioneile  per  la  conservazione  dei  monumenti  della  Lombardia, 
Le  vicende  del  Cenacolo  di  Leonardo  da  Vinci,  Milan,  1906;  L.  Beltrami,  II  Cenacolo  di 
Leonardo,  Milan,  1908;  Dehio,  Zu  den  Copieen  nach  Leonardo's  Abendmahl  in  Jahrb.  d. 
KOnigl.  Preuss.  Kunstsamml.,  xvii,  181  ;  W.  B.  von  Seidlitz,  Leonardo  da  Vinci  in  the  Rassegna 
nazionale,  1909;  H.  KJaiber,  Leonardostudien,  Strasburg,  1907:  W.  von  Seidlitz,  Leonardo  da 
Vinci,  Berlin,  1909;  Leonardo  da  Vinci,  Gjnferenze  fiorentine,  Milan,  1910. 


FIG.  254. — PORTRAIT   OF  MONNA 

LISA    GIOCONDA. 

(LEONARDO   DA    VINCI.) 

Louvre,  Paris.     {Pholo.  Alinari.) 


151 


FIG.    255.— IKESCO    IM   THE   CASA   BORROMEO,   MILAN. 

CHAPTER   XII 
PAINTING  IN  LOMBARDY 

Tardy  Deoelopmenl  of  Painting. — German  Influences. — Giooannino  de'Grassi  and  his 
Contemporaries. — Foppa. — Civerchio. — Butinone  and  Zenale. — Bramantino. — Luino  and 
Bergognone. — Solario  and  Bolfrajffio. — Luini's  Frescoes  at  Saronno  and  Elsewhere. — 
Ambrogio  de  Predis,  and  Other  Disciples  0/ Leonardo. 

The  art  of  painting  in  Lombardy  developed  late.  The  examples 
of  the  Romanesque  and  Giottesque  periods  which  have  survived  do 
not  rise  above  mediocrity.  It  is  often  said  that  they  are  not  only 
mediocre  but  few  in  number ;  it  is  our  belief,  however,  that  they 
were  originally  numerous  enough,  and  that  it  is  the  scanty  merit  of 
these  early  works,  together  with  the  continual  rebuilding  that  has 
gone  on,  above  all  in  Milan,  which  has  tended  to  reduce  the  total. 
However,  some  few  may  still  be  found,  especially  in  Bergamo. 

Only  four  fragments  of  fourteenth  century  frescoes  are  preserved 
in  the  Brera ;  these  have  been  detached  from  the  walls  of  the 
church  of  the  Servi.  One  of  them  is  by  Simone  da  Corbetta  (1 382), 
but  it  betrays  great  poverty  both  of  form  and  sentiment.  For  the 
rest,  the  existence  of  numerous  manuscripts  illuminated  during  the 
course  of  this  century  attests  an  artistic  activity  which,  if  not  of  a 
lofty  nature,  was  certainly  abundant  and  widely  diffused. 

But  now  at  the  close  of  the  fourteenth  century  a  breath  of  new 
pictorial  ideas,  a  movement  that  little  by  little  spreads  over  Emilia 
and  over  the  Marches,  passes  over  Lombardy  and  the  Venetian 

152 


THE  LEONARDESQUE  SCHOOL 


FIG.    256. — DRAWING,      (g.   D.A  CAMPIONE.) 

Biblioteca  Civica,  Bergamo. 
{Photo.  I.  I.  d'Arli  Graficlie.) 


territory.  The  manifest  resemblance  between  the  art  of  Meister 
Wilhelm  of  Cologne  and  that  of  Stefano  of  Verona  has  given  rise 
to  the  idea  that  this  new 
movement  had  its  origin 
in  Cologne.  In  a  measure 
this  is  true ;  but  still  truer 
is  it  that  at  that  time,  as 
a  consequence  of  in- 
creasing commercial  rela- 
tions and  of  continual 
political  and  religious  in- 
tercourse, an  artistic  inter- 
action, fertile  in  results, 
was  growing  up  between 
the  different  countries  of 
central  Europe.  Again 
and  again  we  are  distinctly 
conscious  of  the  presence 
of  these  exotic  tendencies,  manifested  in  a  new  search  after  reality, 
and  a  keen  love  of  anecdote,  of  sport  and  of  costumes.  It  is 
exemplified  in  the  works  of  the  brothers  Salimbeni  of  Sanseverino, 
and  in  those  of  Gentile  da  Fabriano,  to  say  nothing  of  Giovanni  da 
Modena  and  of  Antonio  da  Ferrara.     Ascending  again  towards  the 

Alps,  these  tendencies  display  them- 
selves, with  even  greater  intensity, 
in  the  case  of  certain  artists  working 
between  Verona  and  Piedmont : 
Stefano  da  Verona  and  the  great 
Pisanello  himself,  Giovannmo  de' 
Grassi,  Michelino  and  Leonardo 
Molinari  da  Besozzo,  the  Zavat- 
tari,  the  Milanese  artists,  Lanfranco 
and  Filippo  de'  Veri,  and  finally 
the  painters  of  the  frescoes  in  the 
Torriani  Chapel  in  S.  Eustorgio, 
those  in  the  Casa  Borromeo  in 
Milan  (Fig.  255)  and  those  in  the 
Castello  della  Manta  at  Saluzzo. 

Giovannino  de'  Grassi  is  the  ear- 
liest artist  of  this  period  whom  we 
find  in  Milan.  He  was  there  al- 
ready, at  work  on  sculpture  and 
153 


no.    2S7- — VIRGIN   AND    CHILD   WITH 
SAINTS.      (michelino   DA   BESOZZO.) 

Gallery,  Siena. 


ART  IN  NORTHERN  ITALY 


FIG.    258. — EPISODE   IN   THE  LIFE   OF   QUEEN 
THEODOLINDA.       (ZAVATTARI.) 

Cathedral,  Monza.     (Photo.  Alinari.) 


on    painting    in    1 389.     Seven    years    later    he  had    finished    and 
delivered    the    figure   of    the    Samaritan    Woman    for    the    piscina 

in  the  sacristy  of  the 
Cathedral.  In  a  book 
of  drawings  preserved 
at  Bergamo  he  shows 
himself  as  an  animal 
painter,  full  of  acuteness 
of  observation,  compar- 
able to  the  Molinari, 
the  Zavattari,  the  Ver- 
onese painters,  and  Ja- 
copo  Bellini.  It  may  be 
suggested  with  some 
plausibility  that  he  was 
perhaps  their  exemplar, 
for  he  died  in  1398, 
and  his  birth  may  be  placed  about  the  year  1340.  Now 
Michelino  Molinari  da  Besozzo  was  at  work  between  1394 
and  1442  (Fig.  257);  Leonardo,  his  son,  was  working  be- 
tween 1 428  and  1 488 ;  he  was  an  illuminator  of  manuscripts, 
and  has  left  us,  among  other  works,  some  notable  frescoes 
in  the  church  of  S.  Giovanni  a  Carbonara  at  Naples.  Gre- 
gorio   and   Ambrogio   Zavattari,    the   gay   and   prolific   decorators 

of  the  Theodolinda  Chapel 
in  the  Cathedral  of  Monza 
(Fig.  258),  were  still  at 
work  after  the  middle  of 
the  fifteenth  century.  They 
therefore  survived  Giovan- 
nino  de'  Grassi  by  a  good 
half  century,  and  both  of 
them  lived  long  enough  to 
see  and  to  admire  the 
frescoes  executed  by  Maso- 
lino  da  Panicale  between 
1422  and  1423  in  the 
collegiate  church  of  Cas- 
tiglione  d'Olona,  and  in 
1435  in  the  Baptistery  of 
the  same  town  (Fig.  259).  Further,  in  Verona  we  find  that  Stefano 
lived  from  1375  to  1440  and  Pisanello  from  1394  to  1455,  while 

154 


FIG.    259. — HEROD's   feast.      (MASOLINO 
DA    PANICALE.) 

Baptistery,  Castiglione  d'Olona.     (Photo.  Alinari.) 


VIRGIN  AND  CHILD 

Bernardino  Luini 

(Brera  GaOery.  MiU) 


^ 


ART  IN  NORTHERN  iiru.i 


CalU. 


on   painting   in    1389.     Seven    years    later   he  had    finished    and 
delivered    the    f'sure   of   the   Samaritan    Woman   for   the   piscina 

in  the  sacristy  of  the 
Cathedral.  In  a  book 
of  drawings  preserved 
at  Bergamo  he  shows 
himself  as  an  animal 
painter,  full  of  acutencM 
of  observation,  compar- 
able to  the  Molinarj, 
the  Zavattari,  the  Ver- 
onese painters,  and  Ja- 
copo  Bellini.    It  may  be 

and  his  birth  may  be  placed  about  the  year  1340.  Now 
Michelino  Molinari  da  Besozzo  was  at  work  between  1394 
and  1442  (Fig.  257);  Leonardo,  his  son,  was  working  be- 
tween 1428  and  1488;  he  was  an  illuminator  of  manuscripts, 
and  has  left  us,  among  other  works,  some  notable  frescoes 
in  the  church  of  S.  Giovanni  a  Carbonara  at  Naples.  Gre- 
orio  and  Ambrogio  Zavattari,  the  gay  and  prolific  decorators 

^ ^^ of  the  Theodolinda  Chapel 

in  the  Cathedral  of  Monza 
(Fi>4  238).  were  still  at 
work  after  the  middle  of 
the  fifteenth  century.  TTiey 
ed  Giovan- 

...„ssi  by  a  good 

half  century,  and  both  ot 

them  lived  long  enough  to 

see    and    to    admire    the 

frescoes  executed  by  Maso- 

lino  da  Panicale  between 

1422    and    1423    in    the 

•  ollegiate  church  of  Cas- 

one   d'Olona,    and    \n 

;.  5  in  the  Baptistery  of 

h  urther,  in  Verona  we  find  that  Stefano 

:-|  Pisanello  fv   -  '  '^^'1  to  1455.  while 

154 


THE  LEONARDESQUE  SCHOOL 


FIG.    260. — NATIVITY.      (ciVERCHIO.) 

Brera,  Milan. 
(^Plwlo.  I.  I.  d'Arli  Grafichc.) 


in  Venice  Jacopo  Bellini's  life  was 
prolonged  till  1470. 

The  suspicion  that  Giovannino 
de'  Grassi  was  an  artist  of  con- 
siderable importance,  who,  like 
Jacopo  Bellini,  has  long  been  un- 
jusdy  forgotten,  appears  to  us  to  be 
well  founded.  But  thenceforth  a 
new  pictorial  sentiment  began  to 
diffuse  itself  over  Lombardy ;  and 
notably  in  Milan  by  means  of  the 
works,  in  the  first  place,  of  Vin- 
cenzo  Foppa,  and  then  of  those  of 
Bernardino  Butinone  and  of  Ber- 
nardo Zenale  (both  from  Tre- 
viglio),  of  Vincenzo  Civerchio  from 
Crema,  and  of  others.  In  the  case 
of  some,  the  names  but  not  the 
works  have  been  preserved  (this 
has  been  the  fate  of  the  portrait  painter  Zanetto  Bugatto,  famous  in 
his  day);  in  the  case  of  others,  the  works,  but  not  the  names,  survive. 

Foppa  was  born  between  1425  and  1430  at  Brescia,  where  he 
remained  until  1435.  He  then  re- 
moved with  his  family  to  Pavia  and 
this  town  was  his  habitual  residence  up 
to  1490,  in  which  year  he  returned 
to  Brescia.  During  his  stay  in  both 
of  these  cities  he  had  frequendy  to 
absent  himself  on  account  of  the  innu- 
merable commissions  that  filled  up  his 
long  and  busy  life,  a  life  that  was  pro- 
longed to  the  year  1516.  At  Milan 
he  decorated  the  Banco  Mediceo  and 
the  Portinari  Chapel  in  S.  Eustorgio 
for  Pigello  Portinari.  His  manner 
shows  many  affinities  with  that  of  the 
Venetians,  more  especially  with  that 
of  Jacopo  Bellini,  whom  he  resembled, 
not  only  in  his  precise  draughtsman- 
ship, but  in  his  passion  for  perspective, 

ana   for   a   richly   decorated   architecture   adorned   with   classical 
motives.     For  the  rest,  Foppa  was  a  noble  artist  and  rich  colourist, 

155 


FIG.   261. — ADORATION  OF  THE  MAGI. 
(v.    FOPPA.) 

National  Gallery,  London. 
{Photo.  Hanfstaengl.) 


ART  IN  NORTHERN  ITALY 


FIG.      262. TWO     SAINTS.       (zENALE     AND 

BUTINONE.) 

Cathedral,  Treviglio.     {Photo.  Anderson.) 


save  for  his  flesh  tints,  which  are 
Hvid  and  nacreous  (Fig.  261). 

The  gradual  reconstruction  of 
Civerchio's  personaHty  has  tended 
more  and  more  to  confirm  the  idea 
that  we  may  recognise  the  influence 
of  the  Paduans  and  of  Mantegna 
in  his  earher  work  (Fig.  260).  He 
is  the  painter  of  the  Holy  Con- 
versation, in  the  Louvre,  there 
attributed  to  Bramantino,  and  of 
two  Madonnas  in  private  collec- 
tions at  Brescia  and  in  Rome,  both 
glorified  with  the  name  of  Man- 
tegna. 

Bernardino  Butinone  (1430?- 
1  507)  and  Bernardo  Zenale,  who 
died  at  the  age  of  ninety  in  1  526, 
were  followers  of  Foppa  ;   both  of 

them  came  from  Treviglio,  and  although  they  were  by  no  means 

similar    in    temperament,    they    often    worked    together.      It    may 

indeed  be  held  that  this  union 

of  forces  enhanced  the  beauty 

of  their  works,  for  there  can 

be  little  doubt  that  in  the  great 

altar-piece  at  Treviglio,   the 

rude    and    sombre    style    of 

Butinone  and  the  sweet  and 

clear  manner  of  Zenale  (Fig. 

262)    temper   each   other   to 

their  mutual  advantage.     The 

surviving  works  of  the  former 

suffice  to  establish  his  person- 
ality.    The    little    Madonna 

with  the  Infant  Christ  in  the 

Brera  (Fig.  264),  shows  the 

close  connection  of  Butinone's 

art  with  that  of  Foppa. 
The  style  of  painting  of  the 

artists  whom  we  may  class  to- 
gether as  the  Foppa  group,  and  among  v/hom  we  may  perhaps 

include  the  robust  and  prolific  Donato  da  Montorfano,  long  held 

156 


FIG.    263. — MADONNA   AND    CHILD    ENTHRONED, 
WITH    TWO    SAINTS    AND    A    DONOR. 
(a.   BEVILACQUA.) 

Brera,  Milan.     (Pholo.  Alinari.) 


THE  LEONARDESQUE  SCHOOL 


the  field  in  Milan,  although  a 
very  different  manner,  far  more 
vigorous  and  monumental,  had 
made  its  appearance  there  after 
the  year  1474:  the  manner,  that 
is,  of  Bramante,  of  Vk^hom  we 
have  already  spoken.  We  may 
perhaps  find  an  explanation  of 
this  singular  state  of  affairs  in  a 
certain  reluctance,  in  part  justified, 
to  welcome  exotic  methods  of 
art,  and  again,  in  the  fact  that 
Bramante  abandoned  painting  for 
architecture,  and  thus  gave  a 
different  direction  to  his  influence. 
However,  in  the  former  art,  as 
in  architecture,  Bramante  had  a 
notable  disciple  in  Bartolomeo 
Suardi  (1455  ?-l  536?),  called 
Bramantino    from    his    faithfulness 


fig.  264. — virgin  and  child, 
(butinone.) 

Brera,  Milan.     Photo.  (Anderson.) 


to  his  master ;  this  was  a 
reasonable  devotion,  however,  which 
did  not  prevent  him  from  showing 
a  strong  individuality  both  in  tech- 
nical qualities  and  sentiment,  and, 
in  architecture,  a  curious  preference 
for  horizontal  lines  to  curved  ones. 
His  colour  is  softer  than  that  of 
Bramante ;  at  times,  indeed,  as  in 
the  Crucifixion  in  the  Brera,  we 
find  in  it  an  element  of  mystery, 
arising  from  a  diffused  tonality  of 
blue  and  green  which  may  best  be 
described  as  subaqueous. 

Bramantino  had  found  a  follower 
in  Bernardino  Luini,  who  was  per- 
haps his  collaborator  in  the  frescoes 
of  the  Felucca  Villa  near  Monza, 
frescoes  that  were  subsequently  fin- 
ished by  Luini  alone ;  but  after 
this  we  lose  sight  of  him,  and  Luini 
soon  took  his  place  in  the  orbit  of  Leonardo.  On  the  other  hand, 
the    traditions   of   Foppa    and   of   his   school   were    courageously 

157 


FIG.    26.5. — VIRGIN     AND     CHILD    WITH 
ANGELS.       (BERGOGNONE.) 

Brera,  Milan.     (Photo.  Brogi.) 


ART  IN  NORTHERN  ITALY 


M/^^^gl^-'^''^/*-'i!^ 

HT^^  'T  fl 

1 

^^^K^^^^^k  W 

'*'ll 

fig.  266. — virgin  and  child  with  saints. 

(luini.) 
Brera,  Milan.     (Photo.  I.  I.  d'Arli  Grafiche.) 


maintained  by  Ambrogio  Bergognone  (at  work  1480-1523),  Am- 
brogio  Bevilacqua,  known  as  Liberale,  who  flourished  between  1 47 1 

,     and   1502  (Fig.  263),  and 

others  whose  names  have 
not  yet  been  connected  with 
any  existing  works. 

Bergognone,  who  was 
probably  born  at  Fossano  in 
the  province  of  Cuneo,  was 
the  last  valorous  champion 
of  the  old  Lombard  school 
of  painting  (Fig.  265).  His 
picture,  dated  1  522,  now  in 
the  church  of  the  Olivetani 
of  Nerviano,  proves  that  he 
remained  faithful  to  the  end 
to  the  programme  of  his 
masters,  and  we  can  find 
nothing  to  contradict  this  in  the  great  fresco  with  numerous  figures 
in  S.  Simpliciano ;  neither  in  composition  nor  in  the  individual 
figures  does  this  work  depart  in  any  way  from  the  ideal  of  the 
quattrocento.  We  do  not  know  the  precise  date  of  this  master- 
piece, but  that  of  the  Nerviano  panel  shows  how  little  change 
had  taken  place  in    the   style   of   Bergognone   at   the  time  when 

Leonardo's  Last  Supper 
had  existed  for  a  quarter 
of  a  century. 

With  Bergognone  the 
hope  was  finally  extin- 
guished that  the  true  Lom- 
bard school  of  painting 
might  combine  all  its  forces 
in  a  single  great  spirit,  and 
definitely  achieve  the  lofty 
flight  that  in  the  case  of 
the  Venetian  school  was 
accomplished  by  Titian,  in 
that  of  the  Emilian  pro- 
vince by  Correggio,  in  that 
of  Florence  by  Michel- 
angelo, and  in  that  of  Umbria  by  Raphael.  Before  the  fruit  was 
ripe   the   tree   was   cut  down.      Under   the  influence,    the  dread 

158 


mi    (A  t. 

i^^n^^^HjU  ^^^1  ! 

FIG.    267. — IPPOLITA    SFORZA   WITH    SS.    AGNES, 
SCHOLASTICA.   AND  CATHERINE.       (LUINI.) 

S.  Maurizio,  Milan.     {Photo.  Andersen.) 


THE  LEONARDESQUE  SCHOOL 


tyranny  one  may  say,  of  Leonardo,  the  forms  of  the  old  and  sober 
school  were  transformed,  as  by  enchantment,  and  on  every  face  was 
stereotyped  that  smile  which  a 
happy  inspiration,  of  rhetorician 
or  poet,  has  christened  '  "  enig- 
matic." 

Thus  it  came  about  that  it  was 
by  the  Leonardesque  painters  that 
the  second  phase  of  the  school  of 


268. THE  "madonna    DEI   CASIO.' 

(boltraffio.) 
{Photo.  Giraudon.) 


Lombardy  was  once  for  all  defi- 
nitely determined,  by  the  disciples, 
that  is  to  say,  or  the  followers  of 
the  great  Florentine  master,  many 
of  whom  had  already  attained  to  a 
certain  maturity  before  they  sub- 
mitted to  him.  Among  these  last 
we  must  reckon  Andrea  Solario, 
who  was  living  between  1 460  and 
1515;   he  was  a  member  of  the 

old  family  of  the  Solari,  so  prolific  in  artists  (p.  134),  and  brother 
of  Cristoforo,  known  as  II  Gobbo  (p.  141).  Andrea  is  especially 
notable  for  his  treatment  of  single  figures.  At  times  he  moves  us  by 
an  expression  of  suavity,  as,  above  all,  in  the  mournful  figures  of  his 
Ecce  Homo  and  of  his  Christ  Bearing 
the  Cross;  at  others  he  surprises  us 
by  the  subtle  drawing  of  his  portraits 
(Fig.  269).  Giovanni  Boltraffio  (1467- 
1516)  shows  the  influence  of  Leonardo 
more  especially  in  sacred  subjects,  for 
when  he  devotes  himself  to  the  por- 
trayal of  real  persons  (Fig.  242)  truth 
compels  him  to  forget  the  mannerisms  of 
the  school. 

(1470? -1532),    the 

Lombard    painters    of 

reckoned    a    pupil    of 

as  we  have  already 
stated,  he  should  rather  be  regarded  as 
a  pupil  of  Bramantino,  subsequently 
carried  away  by  the  irresistible  current 
of  the  group  around  the  great  Florentine.  Many  of  his  works  have 
been  removed  from  their  original  positions  and  transported  to  the 

159 


Lven  Luini 
greatest  of  the 
this  period,  is 
Leonardo ;     but 


fig.  269. — portrait  of  a  man. 

(a.  solario.) 

National  Gallery,  London. 

(.Photo.  Hanjslaengl.) 


ART  IN  NORTHERN  ITALY 


FIG.    270. THE    THREE    ARCHANGELS. 

(marco  da  OGGIONO.) 
Brera,  Milan.     (Fholo.  Brogi.) 


gallery  at  Milan.  Thus  the  beauti- 
ful fresco,  so  impressive  in  its  solem- 
nity and  peace,  showing  the  body 
of  St.  Catherine  deposited  by  an- 
gels in  the  sepulchre,  is  now  in 
the  Brera.  There  are  other  paint- 
ings that  may  still  be  admired  in 
their  original  positions.  In  the 
church  atSaronno,near  Milan, where 
in  the  cupola  there  is  a  concert  of 
angels  painted  by  Gaudenzio  Fer- 
rari, Luini  has  covered  the  walls 
with  frescoes,  comprising,  in  addi- 
tion to  several  smaller  narrative  sub- 
jects, two  vast  scenes  with  many 
figures — the  Adoration  of  the 
Magi,  and  the  Presentation  in  the 
Temple.  Again,  in  the  church  of 
S.  Maria  degli  Angeli  at  Lugano, 
he  carried  out  a  magnificent  representation  of  the  Passion  of  Christ, 
which  in  composition  and  in  wealth 
of  incident  recalls  the  work  of  con- 
temporary German  painters,  while 
the  treatment  of  the  individual 
figures  reveals  the  influence  of  Leo- 
nardo. Finally,  in  the  church  of 
the  Monastero  Maggiore,  Milan,  he 
has  left  us  a  valuable  series  of  frescoes 

(Fig.  267). 

But  it  is  in  the  easel  pictures  of 
Luini  and  of  the  other  Lombard 
painters  of  the  day,  that  the  in- 
fluence of  Leonardo  is  most  obvious ; 
many  of  these  panels  have  long  been 
assigned  to  the  master  himself,  and 
indeed,  in  the  types  and  expressions 
of  the  figures,  if  not  in  the  acuteness 
of  the  characterisation,  they  have 
much  in  common  with  his  genuine 
works. 

In  addition  to  the  painters  who  have  already  been  mentioned, 
others  who  belonged  to  this  prolific  school  were  Ambrogio   de 

160 


fig.  271. — holy  conversation. 

(giampietrino.) 

National  Museum,  Naples. 

{Photo.  Anderson.) 


THE    LEONARDESQUE   SCHOOL 


Predis,  who  was  living  between  1450  and  1520  (Fig.  244)  and 

Francesco  Meizi  (see  pp.    147,    148,   and    150),   Bernardino  de' 

Conti     (1450-1528),     Andrea 

Salaino,  who  flourished  between 

1 490  and  1  520,  but  whose  artistic 

personality  has  not  as  yet   been 

defined,  Marco  da  Oggiono, 

whose  somewhat  heavy  hand  in 

colour  and  design  contrasts  with 

the  refined  forms  and  well-balanced 

composition  of  Cesare  da   Sesto 

0477-1527,  Fig.  272);  Gian 
Pietro  Rizzi,  known  as  Giam- 
pietrino  (Fig.  271),  whose  Ma- 
donnas and  puttini  are  full  of 
grace,  but  who  becomes  weari- 
some with  his  endless  nude  half 
figures  of  Lucretia  or  of  the  Mag- 
dalen ;  Cesare  Magni,  incorrect 
and  feeble,  and  Francesco  Na- 
poletano,  with  his  puffy  forms  and 
strong  chiaroscuro  (Fig.  273) ;  all  these  last  artists  were  working 
simultaneously.  Finally  Bartolomeo  Veneto  also  (1480-1555), 
though  he  was  trained  in  the  school  of  Giovanni  Bellini,  ended 
by  yielding  to  the  Leonardesque  influence  (p.  56,  and  Fig.  103). 
Nor,  as  concerns  Northern  Italy,  was  the  influence  of  Leonardo 
confined  to  Lombardy,  for,  as  we  shall  see,  it  extended  over  the 
neighbouring  Piedmont ;  neither  was  it  restricted  to  painting ;  it 
extended  to  sculpture,  to  which  it  gave  a  soft  and  melting  quality, 
foreign  alike  to  nature  and  to  the  Lombard  tradition. 


fig.  272. — virgin  and  child. 

(cesare  da  sesto.) 
Brera,  Milan.     {Photo.  Brogi.) 


BIBUOGRAPHY  OF   CHAPTER  XII 

Vasari,  Le  Vile ;  Crowe  and  Cavalcaselle,  Storia  delta  pitlura  italiana ;  Crowe  and  Caval- 
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The  North  Italian  Painters;  Lermolieff  (Morelli),  Kunstkrilische  Studien:  L.  Lanzi,  Storia 
pntorica  d' Italia '.  Cx.  Rosini,  Storia  della  pitlura  italiana:  V.  Marchese,  Memorie  dei  pitlori, 
scultori  e  architetii  domenicani;  J.  Meyer,  Allgemeines  KUnsller-Lexikon:  U.  Thieme  and  F. 
Becker,  Allgemeines  Lexikon  der  bildenden  Kiinstler;  J.  Burckkardt,  Der  Cicerone  :  C.  Ricci,  La 
Pinacoteca  di  Brera :  F.  Malaguzzi-Valeri,  Catalogo  della  R.  Pinacoteca  di  Brera ;  Guida 
sommaria  della  Biblioleca  Ambrosiana,  Milan,  1907;  G.  Monger!,  L'Arle  in  Milano,  Milan, 
1872;  P.  Gauthiez.  Milan,  Paris,  1905;  F.  Malaguzzi-Valeri,  Milano,  Bergamo,  1906;  E. 
Verga,  U.  Nebbia.  E.  Marzorati,  Guida  di  Milano,  1 906 ;  A.  Bertolotd,  A  rtisti  lombardi  a  Roma 
nei  secoli,  xv-xviii,  Milan,  1881  :  F.  Malaguzzi-Valeri,  A  rtisti  lombardi  a  Roma  net  Rinas- 
cimento  in  Repertorium  fUr  Kunslr»issenschafl,  xxv,  2 ;  G.  B.  Calvi,  Notizie  sutla  vita  del 
princlpall  architetii,  scutlori  e  pitlori  che  fiorivano  a  Milano  durante  It  governo  dei  Visconti  e 
desHS/ona,  Milan,  1859 ;  M.  Caffi,  Di  atcuni  pitlori  poco  noti  in  Archioio  Slorico  Lombardo, 


161 


M 


ART  IN  NORTHERN  ITALY 


FIG.    273. — VIRGIN   AND   CHILD. 
(F.    NAPOLETANO.) 

Brera,  Milan.     {Photo.  Brogi.) 


viii,  54,  x5x,  995  ;    C.  Fumagalli,  D.  Sanl'Ambrogio,  L.  Beltrami,  Reminhcenze  Jl  doria  e  arte 

net  suburbia  e  nella  ciltd  di  Milano,  Milan,  n.  d.  ;    F.  Malaguzzi-Vsderi,  Pittori  lombardi  del 

Quattrocento,  Milan,  1902;  C.  M.  Ady,  Mi7an  and 
the  Sforza,  London,  1907  ;  G.  Clausse,  Lei  Sforza  el 
les  arts  en  Milanais,  Paris,  1909;  J.  Cartwrighl, 
Beatrice  d'Este  Duchess  of  Milan  (1475- 1497)  ;  A 
Study  of  the  Renaissance ;  G.  Carotd,  Pitture 
giottesche  a  Mocchirolo  in  Archivio  Storico  lombardo, 
1 887  ;  W.  Suida,  Le  opere  di  Giovanni  da  Milano  in 
Lombardia  in  Rassegna  d'A  rte,  1 906 ;  P.  Toesca, 
Michelino  da  Besozzo  e  Giovannino  de'  Grassi  in 
L'Arte,  viii,  1905  ;  Gerspach,  Gti  affreschi  di  Cam- 
pione  in  L  'A  rte,  1 902  ;  Ginus,  Campione,  Varese, 
1904;  Gerspach,  Campione,  Paris,  1904;  F.  Mala- 
guzzi-Valeri,  Per  le  pitture  di  Campione  in  Rassegna 
d'A  rte,  1908;  P.  Toesca,  Disegni  di  antica  scuola 
lombarda  in  L'Arte,  x,  1807  ;  P.  Toesca,  Di  alcuni 
miniaiori  lombardi  delta  fine  del  Trecento  in  L  'A  rte, 
1 907  ;  R.  Maiocchi,  Di  alcuni  dipinti  dei  fratelli 
Zaoattari  e  di  Giacomo  Vismara  a  S.  Vincenzo  in 
Prato  di  Milano  in  the  Rioista  di  scienze  storiche,  vii, 
1 908 ;  C.  F  umagalli  and  L.  Beltrami,  La  cappella 
delta  delta  regina  Teodolinda  nella  basilica  di  S. 
Giovanni  in  Monza  e  le  sue  pitture  murali,  Milan, 
1891  ;  G.  C.  Bizzozzero,  Varese  e  it  suo  territorio, 
Varese,  1 874  ;  D.  Sanl'Ambrogio,  //  borgo  di  Castig- 
lione  Otona  presso  Varese,  Milan,  1893  ;  L.  Beltrami, 
Casliglione  Olona  in  Rassegna  d'A  rte,  1901  ;  A. 
Codara,  Guida  di  Varese,  Varese,  1901  ;  P.  Toesca, 
Masolino  da  Panicale,  Bergamo,  1 908 ;  Lechevallier- 
Chevignard,  La  Chapelle  des  Portinari  d  Saint- 
Eustorge  de  Milan  in  Gazette  des  Beaux  Arts,  2,  xix, 
227  ;  L.  Beltrami,  Vincenzo  Foppa  in  Emporium,  vii, 
1898;  L.  Beltrami,  La  patria  di  Vincenzo  Foppa  in 

Perseveranza,  Milan,  Feb.   1,   1906:    L.   Beltrami,   Vincenzo  Foppa  e  le  pitture  delta  cappella 

diS.  Pietro  martire  a  Milano  in  Rassegna  d'A  rte,  1902;  C.  Jocelyn  Ffoulkes  and  R.  Maiocchi, 

Vincenzo  Foppa  of  Brescia,  London,   1 909 ;    G. 

Frizzoni,   Vincenzo  Foppa  in  L'Arte,   1909;    M. 

Caffi,     Vincenzo    Civerchio    in    Archivio    storico 

itatiano,   1883;    M.  Caffi,  Zenale  e  Butinone  in 

Arte  e  Storia,  vi,  1887  ;   W.  von  Seidlitz,  Zenale 

e  Butinone  in  L'Arte,  vi,   1903;    W.  Suida,  Die 

Jugendmerke  des  Bartolomeo  Suardi  in  Jahrb.  der 

Kunsth.  Samml.   des  Alter.   Kaiserhauses,   1904; 

W.  Suida,  Die  Spatwerke  des  Bartolomeo  Suardi 

genannt  Bramantino,  ibid.,  xxvi,  5  ;   G.  Frizzoni, 

Bartolomeo   Suardi   detto   it  Bramantino   secondo 

una   nuova  pubblicazione  in   L'Arte,    1908;    D. 

Sant 'Ambrogio,  Un  pregevole  quadra  del  Braman- 
tino   a    Birolo    pressa    Pavia  in    the    Osservatore 

Cattalico  of  the  6th  of  March,  1 909  ;  G.  Lafenestre, 

Bernardino  Luini  in  Gazette  des  Beaux  Arts,  2,  ii, 

44 1  ;  L.  Beltrami,  Bernardino  Luini  e  la  Petucca 

in  Arch,  storico  detl'arte,  viii,  1895  ;   P.  Gauthiez, 

Notes  sur  Bernardino  Luini  in  Gazette  des  Beaux- 
Arts,  1899,  307,  1900,  25  and  229  ;   P.  Gauthiez, 

Bernardino  Luini,  Paris,  r.  d.  ;    L.  Beltrami,  La 

chiesa  di  S.  Maurizio  in  Milano  e  le  pitture  di  Ber- 
nardino Luini  in  Emporium,  ix,  1 899  ;  G.  William- 
son, Bernardino  Luini,  London,  1 900  ;  L.  Beltrami, 

Ambrogio    Fossano   delio    it   Bergognone,   Milan, 

1895  ;    L.    Beltrami,    In    difesa    del    quadro    del 

Bergognone    in    Melegnano,    Milan,     1900;     D. 

Sant' Ambrogio,  Un  nuovo  e  pregevole  quadro  del 

Bergognone  in  Recco  Liguria  in  the   Osservatore 

Cattolico  foi  February,  1909  ;   F.  Malaguzzi-Valeri, 

Maestri  minori  lombardi.   I  seguaci  del  Bergognone 

in  Rassegna  d'A  rte,  v,  1905  ;  G.  Zappa,  Note  sul 

Borgognone  in  L'Arte,  1909  ;  C.  Joc-lyn  Ffoulkes  and  R.  Maiocchi,  Intorno  al  pittore  Ambrogio 

Borgognone  in  L'Arte,  1909;    C.  Ricci,  La  patria  del  Bergognone  in  Bollettino  d'Arte,  1909; 

162 


FIG.    274. — HOLY   FAMILY. 
(CESARE   MAGNI.) 

Brera,  Milan.     (Photo.  Anderson.) 


THE  LEONARDESQUE  SCHOOL 

H.  de  Chennevi^res,  Andrea  Solano  in  Gazette  des  Beaux  Arl$,  2,  xxviii,  43;  E.  Motta, 
Ambrogio  Preda  e  Leonardo  da  Vinci  in  Arch.  Storico  Lombardo,  xx,  1893  ;  W.  Bode,  Ein 
Bildniss  der  ztveiten  Gemahlin  Kaiser  Maximilians,  Bianca  Maria  Sforza,  von  Ambrogio  dePredis 
in  Jahrb.  der  Konigl.  Preuss.  Kunstsamml.,  x,  71  ;  W.  von  Seidlitz,  Ambrogio  Preda  und 
Leonardo  da  Vinci  in  Jahrbuch  der  Kunsthistor.  Samm.  des  A  Iter.  Kaiser hauses,  1 906 ;  L. 
Beltrami,  //  rilratto  di  Beatrice  d'Este  di  Leonardo  all'Ambrosiana  in  the  Repertorium,  xxix ; 
G.  Cagnola,  Bernardino  de'  Conti  in  Rassegna  d'Arte  v,  61  ;  G.  Longoni,  Cenni  su  Marco 
d'Oggiono  allievo  di  Leonardo  da  Vinci,  Lecco,  1858  ;  G.  V.  T.,  Giovan  Antonio  Boltraffio  in 
Die  Galerien  Europas,  i,  Leipsic,  s.  d. ;  G.  Carotti,  R.  Pinacoleca  di  Brera:  G.  A.  Boltraffio  in 
Callerie  nazionali  italiane,iv,  1899;  G.  Frizzoni,  Neae  Erwerbungen  der  Breragalerie  und  des 
Museo  Poldi-Pezzoli  in  Mailand  in  Zeitschrift  fUr  bildende  Kunst,  N.  F.,  xl,  3  ;  E.  Galichon, 
De  quelques  estampes  milanaises  attribuees  d  Cesare  da  Sesto,  Paris,  1 892  ;  F.  Malaguzzi- Valeri, 
Cesare  da  Sesto  in  Rassegna  d'A  rte,  viii,  1 908 ;  E.  Reymond,  Cesare  da  Sesto  in  Gazette  des 
Beaux  Arts,  1902  ;  G.  Cagnola,  Intorno  a  Francesco  Napoletano  in  Rassegna  d'Arte,  5,  1905  ; 
F.  Mason  Perkins,  Alcuni  dipinti  italiani  in  America  in  the  Rassegna  d'Arte,  1909;  D.  Sant' 
Ambrogio,  La  chiesa  di  Vigano  Certosino  e  i  dipinti  di  Bernardino  Rossi,  Milan,  1894;  A. 
Venturi,  Bartolomeo  Veneto  in  L'Arte,  Rome,  1899,  and  in  the  Galleria  Crespi,  Milan,  1900. 
For  Ambrogio  de  Predis  see  Bollettino  storico  della  Svizzera  ilaliana,  1 89 1 ,  p.  4 1  et  seq. 


163 


jLRT  of  the   seminary,  MILAN.      (g.   MED  A.)      {PhotO.   Brogi.) 


CHAPTER    XIII 


ARCHITECTURE  AND  SCULPTURE  IN  MILAN 

FROM    THE    SIXTEENTH    TO    THE    NINETEENTH 

CENTURY 

Fusion  of  Lombard  Art  into  the  National  Stvle. — Fall  of  the  SJorza. — Milan  under  the 
Spaniards. — Pellegrino  Pellegrini. — Martino  Bassi. — Alessi. —  The  Trabeated  Loggia. — 
Architects  of  the  Second  Rank  in  Milan. — Milan  under  Austrian  Rule. — Piermarini. — 
Bonaparte  at  Milan. — Sculptors  at  Milan  in  the  Baroque  Period. — Canova. — Modem 
Sculptors. 

The  School  of  Leonardo  was  not  replaced  in  Lombardy  by  any 
other  with  a  definite  character  of  its  own.  Under  the  Roman 
influence  of  the  followers  of  Michelangelo  and  Raphael,  the  artistic 
types  of  the  various  districts  became  definitely  fused  and  unified 
as  time  went  on,  finally  building  up  a  national  style  from  which  the 
painting  of  Venice  alone  escaped.  The  vicissitudes  of  the  political 
world  had  extinguished  one  aspect  of  Milanese  life.  The  house 
of  Sforza,  whose  splendour  was  based  both  on  individual  taste 
and  on  the  wish  to  rival  the  other  Italian  courts,  came  to  an  end, 
it  may  be  said,  on  the  day  when  Lodovico  il  Moro  fell  into  the 
hands  of  the  French  at  Novara.  After  this  time,  during  the  brief 
intervals  when,  amid  wars,  massacres,  and  plots,  the  sons  of  II  Moro, 
protected  rather  by  masters  than  by  supporters,  appeared  upon  the 
scene,  there  was  no  revival  of  the  fine  arts,  nor  were  they  furthered 
by  the  Spanish  rule,  which,  after  its  establishment  in  Milan  in  1 535, 
held  its  ground,  hostile  and  perverse,  for  almost  two  centuries. 

164 


ARCHITECTURE  AND  SCULPTURE  IN  MILAN 


FIG.   276. PORTA   ROMANA,  MILAN. 

(m.  bassi.)    {Photo.  1.  I.  d'Arti  Grafiche.) 


We  note  with  wonder,  however,  how  the  inborn  energy  of  the 
Lombard  race  and  the  productive  vigour  that  had  distinguished 
the  people  of  Milan  for  centuries 
were  still,  in  spite  of  an  inevitable 
tendency  to  decadence,  able  to 
find  expression  in  remarkable 
works  and  in  flourishing  indus- 
tries, notwithstanding  the  ever- 
growing restraints  of  Spanish 
suspicion  and  oppression.  Nor, 
amid  their  fervid  enjoyment  of 
life  and  their  eager  demand  for 
pleasure,  was  there  any  falling  off 
in  religious  enthusiasm  among  the 
Milanese ;  it  was  in  the  six- 
teenth century  that  this  spirit 
found  a  notable  ornament  and 
example   in   S.    Carlo    Borromeo 

(1538-1584),   the  founder  of  so  many  churches,  convents,  and 
beneficent  institutions. 

Endless  is  the  succession  of  architects,  of  sculptors,  and  of 
painters,  who  were  at  work  in  Milan  during  the  Spanish  period, 
even  if  we  take  no  note  of  the  men  employed  in  the  minor  arts 
(the  goldsmiths,  the  gem-cutters,  the  ceramic  artists,  and  the  bell- 
founders),  and  in  the  manufacture  of  arms.  The  patronage 
of  a  single  family,  that  of 
the  Sforza,  was  now  re- 
placed by  that  of  some  ten 
or  even  twenty  families 
who  had  been  enriched 
by  the  greater  industries, 
and  this,  together  with 
other  causes,  promoted  the 
growth  of  an  artistic  eclec- 
ticism. 

The  most  prominent 
artist  at  Milan  in  the 
second  half  of  the  sixteenth 
century  was  Pellegrino 
Pellegrini  (d.  1  596), 
called  Tibaldi  after  his  father  and  his  grandfather.  Pellegrino  was 
born  in  Valsolda  in  I  527,  but  while  still  a  lad  he  had  been  taken  to 

165 


no.    277. — COURT  OF  THE  ARCHIEPISCOPAI,  PALACE, 
MILAN.      (PELLEGRINI.)      (Photo.  AlinaH.) 


ART  IN  NORTHERN  ITALY 


FIG.    278. — COURT  OF  THE  PALAZZO  MARINO,  MILAN. 

(galeazzo  alessi.)     (Photo.  Brogi.) 


Bologna  by  his  father,  who  was  employed  there  in  various  building 
operations.    Now  Bologna  was  at  that  time  a  notable  artistic  centre, 

so  that  Pellegrino  had  full 
opportunity  of  developing 
his  manifold  artistic  gifts, 
of  which,  as  we  shall  see 
in  due  course,  he  gave  many 
magnificent  examples.  Pass- 
ing to  Milan,  he  placed 
himself  at  the  disposal  of 
Cardinal  Borromeo,  and 
became  in  succession  archi- 
tect to  the  state  and  to  the 
conservators  of  the  cathe- 
dral ( 1 567).  He  now  threw 
aside  everything  that  linked 
him  with  the  past  to  follow 
freely  his  own  taste  and 
that  of  his  age ;  we  have  evidence  of  this  in  the  baptistery,  in  the 
altars  of  the  side  aisles,  in  the  choir,  in  the  presbytery  (with  the 
high  altar  and  the  ciborium),  to  say  nothing  of  the  lower  part  of 
the  fa9ade,  the  design  of  which,  although  only  carried  out  later  by 
Ricchini,  was  due  to  him.  This  break  with  the  past,  although 
a   proof  of   the   sincerity   of   Pellegrino,   could   not   lead   to   any 

satisfactory  result  in  the 
case  of  a  building  where 
every  part  should  have 
been  in  harmony  with  a 
dominant  architectural  con- 
ception consecrated  by  the 
labours  of  nearly  two  cen- 
turies. Thus  it  happens 
that,  though  we  may  sin- 
cerely admire  portions  of 
the  work  executed  by  him 
in  the  cathedral  when  these 
are  judged  on  their  own 
merits,  we  find  more  plea- 
sure in  the  study  of  his 
architecture  in  buildings 
both  planned  and  carried  out  by  him,  as,  for  instance,  the 
courtyard   of   the  archbishop's  palace  (Fig.   277)  and  the  mag- 

166 


FIG.   279. PALAZZO  DEI  GIURECONSULTI,  MILAN 

(v.  SEREGNi.)    {Photo.  Brogi.) 


ARCHITECTURE  AND  SCULPTURE  IN  MILAN 


nificent   church   of  San   Fedele,   erected  in   Milan  for   the  Jesuits 
at  the  instance  of  Carlo  Borromeo. 

As  an  architect  it  was  not  only  to  the  influence  of  Michelangelo 
that  he  was  subjected,  but 
in  an  equal  degree  to  that 
of  Jacopo  Sansovino,  who 
was  more  inclined  to  the 
rich  fusion  of  the  architec- 
tural with  the  ornamental 
line.  In  his  prodigious 
activity  and  in  the  variety 
of  his  gifts  Pellegrino  was 
a  typical  artist  of  the 
Renaissance ;  he  did  not 
shrink  from  any  task,  and 
he  busied  himself  both 
with  hydraulic  under- 
takings and  with  the 
planning  of  fortifications. 
Milan  and  in  other  cities— 


no.    280. VILLA    SIMONETTA,  NEAR    MILAN. 

(d.  guintallodi.)     {Photo.  Montabone.) 


The  success  of  his  architectural  work  at 
as  at  Varallo,  where  he  built  the  church 
of  the  Sacro  Monte,  and  at  Novara,  where  he  built  the  church 
of  S.  Gaudenzio  and  the  Palazzo  Bellini — procured  him  an  invita- 
tion from  Philip  II.,  who  in  1  587  summoned  him  to  Spain.  There 
he  was  chiefly  occupied  in  painting,  above  all  in  the  Escurial,  a 

f)alace  where  the  art  of 
taly,  as  represented  by  the 
works  of  Luca  Giordano, 
of  Federico  Zuccari,  of  the 
Leoni,  and  of  Giacomo 
Trezzo,  covers  so  wide  a 
field.  Pellegrino  remained 
eight  or  nine  years  in 
Spain,  and  he  died  shortly 
after  his  return  to  Milan. 
This  was  in  1 596,  when 
his  rival,  Martino  Bassi, 
who  had  barely  reached 
the  age  of  fifty,  had  al- 
ready been  five  years  in  his 
grave. 

This  Martino  had  been  a  severe  critic  of  the  works  of  Pellegrino, 
and  as  he  was  "  learned  in  Vitruvius  and  in  statics,"  and  further, 

167 


FIG.   281. — CHURCH  OF  S.  ALESSANDRO,  UILAN. 

(g.  l.  binago.)     {Photo.  Brogi.) 


ART  IN  NORTHERN  ITALY 


FIG.    282. PALAZZO,     LITTA,    MILAN. 

(f.  m.   ricchini.)     {Photo.   Brogi.) 


a  man  of  calm  judgment,  his  criticism  was  competent  and  formidable. 
But,  as  often  happens  in  such  cases,  when  it  came  to  competing  with 

Pellegrino  in  actual  works, 
he  showed  himself  by  no 
means  his  equal.  Never- 
theless, his  Porta  Romana 
(Fig.  276),  and  his  work 
in  the  remodelling  of  the 
interior  of  S.  Lorenzo  and 
in  the  building  of  the  cupola 
of  that  church  (Fig.  214), 
are  much  admired. 

Of  Alessi  we  shall  have 
to  speak  at  greater  length 
in  connection  with  the  art 
of  Genoa,  where  his  ac- 
tivity was  principally  exer- 
cised. But  we  must  note  here  that  in  Milan  he  designed  the 
church  of  S.  Vittore  (1  560).  The  architectural  work,  however,  that 
has  brought  him  most  fame,  was  the  great  palace  entrusted  to  him 
in  1  558  by  the  Genoese  merchant,  Tommaso  Marino,  which  still 
retains  the  name  of  the  Marino  Palace,  in  spite  of  the  fact 
that  the  commercial  failure  of  its  munificent  owner  caused  it  to  pass 
almost  at  once  into  the  hands  of  the  Government,  who  in  1 859  ceded 
it  to  the  municipality.  The  exterior  of  the  Marino  Palace  is 
stately  and  elegant,  and  the 
rich  decoration  of  the  inner 
court  is  full  of  movement 
and  life  (Fig.  278)  ;  but 
trates  may  be  already  dis- 
co^Wed  of  certain  motives 
wfeach,  carried  to  excess  at 
a  later  time,  became  the 
trivialities  that  offend  us 
on  the  facade  of  S.  Maria 
presso  S.  Celso. 

It    was    at    this    time, 
during  the  second  half  of 

.1  •      .  .1  .  .1        .  FIG.    283. THE  BRERA,  MILAN. 

the  sixteenth  century,  that  (,  ^  ,^^^^^^,  ^    ^p^^,^  ^^^^.^ 

the  art  or   Vmcenzo  he- 

regni   and   Giuseppe   Meda   was   developed.     The   first   of   these 
architects  is  known  above  all  by  his  Palazzo  dei  Giureconsulti 

168 


ARCHITECTURE  AND  SCULPTURE  IN  MILAN 


FIG.  284. PALAZZO  CUSANI,  NOW  HEADQUARTERS  OF 

THE  MILITARY  DIVISION.       (A.  M.  RUGGERI.) 

{Photo  Brogi.) 


(1564,  Fig.  279),  a  building  that  was  copied  in  the  succeeding 

century  in  the  Scuole  Palatine ;   the  second  owes  his  fame  to  the 

cortile  of  the  Archbishop's 

Seminary(Fig.275),which 

Fabio  Mangone  (d.  1629) 

elected   to   imitate   in   his 

courtyard  of  the  CoUegio 

Elvetico,  a  palace  that  in 

later  days  became  the  home 

of   the   Senate,   and   now 

houses  the  state  archives. 

The   courtyards   of    these 

two  palaces  are,  in  similar 

fashion,  surrounded  by  a 

trabeated    loggia    of    two 

storeys,     an     arrangement 

more    frequently    adopted 

in  Milan  than  elsewhere. 

This  trabeated  loggia  is  common  in  Florence,  but  it  is  practically 
confined  to  the  summits  of  buildings.  It  was  used,  indeed,  by 
Brunelleschi  in  the  Pazzi  Chapel,  but  here  he  broke  the  horizontal 
line  with  a  great  central  arch. 
Peruzzi  used  it  in  the  Palazzo 
Massimo  in  Rome,  Vasari  in  the 
Uffizi,  and  Da  Valle  in  the  Paduan 
University ;  but  in  this  they  had 
no  imitators.  At  Bologna  it  made 
its  appearance  at  a  later  date. 
But  everywhere  the  arch  found 
greater  favour.  To  whom  are  we 
to  attribute  the  first  introduction 
or  the  popularisation  in  Milan  of 
this  trabeated  form,  a  form  that 
survived  even  into  the  nineteenth 
century  in  the  architectural  works 
of  Amati  (Fig.  287)  and  of 
Perego  (Fig.  286)?  To  Bra- 
mante?  As  far  back  as  the  six- 
teenth century  Cesariani  ascribed 
to  him  the  Ponticella  of  the 
Castello,  and  again,  in  Rome,  the  cloisters  of  S.  Maria  della  Pace 
are  attributed  to  him ;  in  both  these  buildings  the  horizontal  line  of 

169 


FIG.   285. ARCH  OF  PEACE,   MILAN. 

(l.  cagnola.)    (Photo.  Brogi.) 


ART  IN  NORTHERN  ITALY 


FIG.  286. — PALAZZO  ROCCA-SAPORITI,  MILAN. 

(PEREGO.)     (Photo.  I.  I.  d'Arli  Grafiche.) 


the  architrave  above  the  columns  gives  repose  to  the  composition. 
The  two  storeys,  again,  may  be  seen  in  a  house  of  the  Via  Torino 

(Nos.  10-12)  which  dates 
back  to  the  period  of  the 
Sforza.  But  it  was  only 
in  1 547,  in  the  "  Villa  della 
Simonetta  "  (which  Dom- 
enico  Guintallodi  of  Prato 
built  in  the  suburbs  of 
Milan  for  Ferrante  Gonza- 
ga,  Dukeof  Guastalla),  that 
this  form  appeared  in  the 
aspect  which  was  to  in- 
spire the  architect  Meda, 
and,  through  Meda,  to 
reach  Mangone  (Fig.  280). 
In  Milan  there  was  no 
great  change  in  the  main 
lines  of  the  architecture  during  the  seventeenth  century ;  it 
remained  faithful  to  the  doctrines  taught  in  the  preceding  century, 
and  although  we  do  not  find,  as  at  Rome  and  at  Venice,  any 
architects  of  the  first  rank,  the  city  can  boast  quite  a  number  of 
men  whose  skill  and  industry  gave  distinction  to  the  whole  city, 
endowing  it  with  many  notable  buildings,  both  civil  and  religious. 

The  opening  years  of 
this  century  gave  us  the 
works  of  the  already-men- 
tioned Fabio  Mangone ; 
those  of  the  Padre  Gian 
Lorenzo  Binago,  the  archi- 
tect of  the  church  of  S, 
Alessandro  (1602,  Fig. 
28 1 )  ;  those  of  Pietro 
Antonio  Barca,  the  chief 
architect  of  the  Palazzo  di 
Giustizia,  begun  in  1 607  ; 
and  of  Francesco  Maria 
Ricchini,  the  most  import- 
ant architect  of  this  period ; 
it  is  to  him  (assisted  occa- 
sionally by  his  son  Domenico,  or  from  time  to  time  by  others)  that  we 
owe  the  Durini  (1 603)  and  the  Litta  (Fig.  282)  palaces  and,  perhaps, 

170 


FIG.   287. — CHURCH  OF  S.  CARLO,  MILAN, 

(c.  AMATi.)     (Photo.  Brogi.) 


ARCHITECTURE  AND  SCULPTURE  IN  MILAN 


FIC.    288. — GALLERIA  VITTOKE 
EMANUELE,  MILAN.       (G.  MENGONI.) 

{Photo.  Alinari.) 


also  that  of  the  Annoni  family ;  the 

vast  and  magnificent  Brera  (1615, 

Fig.  283),  and  other  buildings. 
In    1712   the   Milanese  territory 

was  handed  over  to  Austria,  who 

ruled  it  infinitely  better  than  Spain 

had  done.     The  change  of  govern- 
ment, however,  had  no  appreciable 

influence   upon    the   world   of   art, 

which  went  its  way,  faithful  to  the 

national    traditions ;     at    the    most 

taking  on  a  somewhat  more  grace- 
ful character,  thanks  to  the  greater 

lightness  of  ornamental  detail.     We 

have   fine  examples  of   the  art  of 

this  period  in  the  Palazzo  Sormani, 

built  by  Francesco  Croce  (he  was 

also  the  author  of  the  great  pinnacle 

of  the  cathedral),  in  the  interior  of  which  much  of  the  old  furniture 

is  still  preserved ;  the  Palazzo  Cusani  (now  the  headquarters  of  the 

Military  Division),  of  which  Anton  Maria  Ruggeri  was  the  archi- 

tect  (Fig.  284) ;  and  the  Palazzo 
Clerici,  where,  in  one  of  the  rooms, 
G.  B.  Tiepolo  has  spread  a  feast 
for  the  eyes,  overflowing  with  his 
fantasy  and  his  magnificent  colour. 
Architecture  in  Milan  during  the 
last  third  of  the  eighteenth  century 
was  entirely  dominated  by  Giuseppe 
Piermarini  of  Foligiio  ( 1  734- 1 808), 
a  disciple  of  Luigi  Vanvitelli.  It 
was  he  who,  in  place  of  the  rococo 
then  in  fashion,  substituted  forms  of 
a  simpler  character,  and  thus,  it 
may  be  said,  prepared  the  way  for 
the  neo-classicism  of  later  days.  It 
would  be  impossible  to  enumerate 
all  his  works  here :  suffice  it  to  say 
that  he  restored  the  Royal  Palace, 
built  the  Scala  Theatre,  the  Palazzo 

Belgioioso,  and  in  the  environs  of  Milan,  the  Villa  di  Monza,  and 

the  Villa  Adda  at  Cassano.     Piermarini  was  appointed  by  Maria 

171 


FIG.   289. — SAVINGS  BANK,  MILAN. 

iPholo.  I.  I.  d'Arti  Grafiche.) 


ART  IN  NORTHERN  ITALY 


yL  ' 

j^'r 

^^^^HHH^   ilt^^JJI  u  jjfiCT^- 

FIG.  290. — PIUS  IV.   (aNGELO  DE 
MARINIS.) 

Cathedral,  Milan.     (Photo.  Brogi.) 


Theresa  professor  of  architecture  In  the 
Brera  Academy,  founded  in  1  776,  and 
he  was  thus  able  to  train  a  whole 
generation  of  architects  who  developed 
their  activity  in  that  prosperous  period 
during  which  Milan  was  under  French 
rule,  that  is  to  say,  from  May,  1  796, 
when  General  Bonaparte  took  the 
town  from  the  Austrians,  until  1814, 
when  it  was  restored  to  them. 

What  a  period  of  glory  was  this 
for  Milan  and  for  Lombardy  !  In  the 
domain  of  letters  and  of  science  it 
was  the  time  of  Pietro  and  Alessandro 
Verri,  of  Giuseppe  Parini,  of  Ugo 
Foscolo  and  Vincenzo  Monti,  of 
Alessandro  Volta,  of  Barnaba  Oriani, 
and  many  more !  Some  of  these 
men  barely  outlived  the  year   1 796, 

others  still  flourished  in  1814;   but  all  of  them,  in  greater  or  lesser 

degree,  contributed  to  the  Napoleonic  splen- 
dour.     We    shall    see    later    who    were    the 

painters  and  sculptors  of  this  time.     Among 

the  architects  let  us  mention  Simone  Cantoni 

(1736-1818),  who  built  the  Palazzo  Serbel- 

loni ;    Giuseppe   Zancia   (1752-1818),  who 

built    the    Porta    Nuova ;     Lodovico    PoUak 

(1752-1806),    who   buih   the   Villa    Reale; 

Luigi  Cagnola  (1762-1833),  who  built  the 

Arco  della  Pace  (Fig.  287) ;    and  Giuseppe 

Perego  (1776-1817),  who  buih  the  Palazzo 

Rocca-Saporiti  (Fig.  286). 

Whatever  may  be  thought  of  the  architec- 
ture of  the  neo-classical  period,  no  one  can 

deny  that  this  architecture  possesses  a  unity 

of  aim  and  a  harmony  of  method  that  give  it 

a  definite  place  in  the  history  of  art.     After 

this  time  there  was  no  agreement  as  to  the 

path  to  be  followed,  and  architects,  no  less 

than  their  patrons,  vied  with  one  another  (as 

indeed  they  still  do)  in  their  uncertainty  as  to  the  choice  of  one 

style  rather  than  another.     If,  nevertheless,  here  and  there  some 

172 


FIG.    291. S.    BARTHOLO- 
MEW.   (MARCO  d'aGRATE.) 

Cathedral,  Milan. 
(Pholo.  Brogi.) 


ARCHITECTURE  AND  SCULPTURE  IN  MILAN 


notable  building  has  emerged  from 
the  aggregate  of  eccentricities,  we 
must  regard  it  as  the  result  of  indi- 
vidual studies  and  of  personal  taste, 
as,  for  instance,  Carlo  Amati's  church 
of  S.  Carlo,  finished  in  1847  (Fig. 
287),  or  the  Cassa  di  Risparmio 
(Savings  Bank)  (Fig.  289),  built  by 
Giuseppe  Balzaretti  (1801-1874). 
Giuseppe  Mengoni  (1827-1877) 
has  given  us  a  proof  of  even  greater 
skill,  if  of  less  refined  taste,  in  the 
construction  of  the  Galleria  Vit- 
torio  Emanuele,  planned  in  the 
form  of  a  Latin  cross  and  roofed 
with  glass.  The  general  effect  is 
too  theatrical,  but  it  cannot  be 
denied  that  this  arcade  is  dis- 
tinguished   by    a    certain    grandeur 


FIG.  292. — PALAZZO  DEfiLI  OIIE.NOXI, 
MILAN.       (lEONE   LEONI) 

(^Photo.  Brogi.') 


and   novelty   of   conception  (Fig.   288). 
J.  55  o. 


As  might  be  expected,  the  exuberance 
of  the  decorative  elements  in  the  buildings 
erected  during  that  long  period  known  as 
the  Baroque,  caused  the  number  of  sculp- 
tors to  exceed  even  that  of  the  architects. 
Over  the  exterior  as  well  as  in  the  interior 
of  every  church  spread  a  vigorous  and 
intricate  vegetation,  interspersed  with 
figures  of  saints,  of  puttini,  of  animals, 
symbols,  and  so  forth.  Statuaries  and 
ornamentists  swarmed  in  every  corner 
of  Italy,  and  it  must  be  acknowledged 
that  these  men  showed  a  fervour  of 
invention  and  a  courage  in  execution  that 
in  the  remote  centres  of  art  is  not  to 
be  discovered  either  before  or  after. 
There  was  now  an  end  of  provincial 
art,  and  in  every  direction  facility  and 
promptness  of  execution  is  to  be  found.  How  is  it  possible,  and 
indeed  what  end  would  it  serve,   to   collect  the  names  of  the 

173 


[fl 

1^ 

m 

!..^Bi 

mi 

^B 

FIG.   293. — MARTYRDOM    OF 

S.   AMBROSE. 

(C.  SIMONETTA.) 

Cathedral,  Milan. 
{Photo.  Lissoni.) 


ART  IN  NORTHERN  ITALY 


FIG.   294. — ELISHA. 
(C.   RUSNATI.) 

Cathedral,  Milan. 
(Photo.  Lissoni.) 


virtuosi  of  this  time  except  in  a  few  indi- 
vidual cases  ?  They  are  to  be  reckoned 
by  the  thousand,  and  there  is  not  one  quiet 
town  that  cannot  point  with  pride  to  more 
than  one  worthy  sculptor  who  has  made  a 
name  for  himself  with  the  chisel  and  the 
modelling  tool.  After  Rome,  Milan  was 
perhaps  at  this  time  the  city  that  held  the 
greatest  swarm  of  sculptors.  This  we  must 
attribute,  apart  from  her  wealth,  to  the 
work  still  carried  on  in  the  cathedral, 
where,  as  we  have  said,  more  than  a 
thousand  sculptors  collaborated ;  of  these 
about  a  half  worked  in  the  period  between 
the  year  1  500  and  the  present  day,  that  is 
to  say,  more  than  two  hundred  in  the  six- 
teenth century,  about  a  hundred  in  the 
seventeenth,  some  sixty  or  so  in  the 
eighteenth,  about  one  hundred  and  thirty 
in  the  nineteenth,  and  already  some  twenty 
And  there  were  many  others  living  in  Milan 


in  the  present  century 

who  found  employment,  not  in  the 

cathedral,   but  in  other  churches, 

and  in  the  numerous  palaces  that 

were  in  course  of  erection  or  of 

reconstruction. 

To  discern  and  to  follow  up  the 
various  sources  of  influence  and  the 
various  schools  of  Lombard  sculp- 
ture in  the  sixteenth  century  would 
be  a  difficult,  not  to  say  an  impossi- 
ble, task.  A  gentle  infusion  of 
Bambaia's  art  is  clearly  to  be  seen, 
more  especially  in  the  works  of 
Gian  Giacomo  della  Porta,  of 
Cristoforo  Lombardo,  of  Giulio  da 
Oggiono,  and  of  others ;  then, 
again,  the  influence  of  Michelangelo 
and  of  Sansovino  cannot  be  denied, 
an  influence  easy  to  be  explained  in 
a  town  where  Pellegrini  ruled  for  so  long,  and  in  such  close 
relation  to  Francesco  Brambilla.     Not  a  few  artists  combined  the 

174 


FIG.   295. JUSTICE. 

Cathedral,  Milan. 


(f.  zarabatta.) 
(Photo.  Lissoni.) 


ARCHITECTURE  AND  SCULPTURE  IN  MILAN 


FIG.   296. — S.  ROSALIE. 
(C.  F.  MELONE.) 

Cathedral,  Milan. 
{Pholo.  Lissoni.) 


two  manners,  or  rather  attempted  to  do  so, 
passing  from  the  first  style  to  make  their  way 
into  the  second,  in  other  words  attempting  to 
give  the  muscles  of  heroes  to  their  decrepit 
figures ! 

Such  phases  as  these  in  the  history  of  art  are 
so  full  of  inequality  and  confusion,  that  it  is 
impossible  for  criticism  to  establish  clear 
divisions  or  to  fix  definite  criteria.  Add  to 
this  that  in  Milan  at  this  time  we  look  in  vain 
for  any  artist  of  eminence  capable  of  eliminating 
the  weak  elements  and  concentrating  the  strong 
in  a  characteristic  and  well-defined  creation. 
Nevertheless,  works  well  worthy  of  study  have 
been  left  us  by  Marco  d'Agrate  (working 
1522-1571),  whose  modelling  is  uniformly 
accurate,  but  who  owes  his  fame  above  all  to 
his  "  anatomical  "  figure  of  St.  Bartholomew 
(Fig.  29 1 )  ;  by  Angelo  de  Marinis  (working 
1556-1584),  sober  and  restrained  in  his  statue 
of  Pius  IV.  (Fig.  290),  but  generally  emotional,  elegant  and  some- 
times even  sensuous  in  style ;  by  Stoldo  Lorenzi  and  Annibale 
Fontana  (1540-1587),  who  in  the  extensive  work  they  carried  out 
on  the  facade  of  S.  Maria  presso  S.  Celso 
showed  that,  while  accepting  Michelangelo's 
reform,  they  were  careful  to  modify  its 
audacities.  But  the  foremost  sculptor  of 
the  day  was  Leone  Leoni  (1509-1592); 
he  had  also  a  successful  career  in  Spain, 
where  his  work  was  continued  by  his  son 
Pompeo,  who  died  at  Madrid  in  1610. 
Leoni  made  some  long  sojourns  in  Milan 
at  various  times  between  1555  and  1585, 
and  there  he  built  for  himself  a  very  singu- 
lar house,  known  as  the  Palazzo  degli 
Omenoni,  from  the  colossal  statues — tela' 
moni — which  adorn  the  facade  (Fig.  292). 
His  principal  work  in  Milan  is  the  monu- 
ment to  Gian  Giacomo  de'  Medici  in  the 
Cathedral. 

Among  the  sculptors  of  the  seventeenth 
century  who  attained  to  some  repute,  were 

175 


FIG.    207. — S.  DOROTHEA. 

(d.  BUSSOI.A.) 

Cathedral,  Milan. 

{Photo,  Liuoni.) 


ART  IN  NORTHERN  ITALY 


FIG.   298. NAPOLEON  I. 

(CANOVA.) 

Brera,  Milan. 


Gaspare  Vismara,  who  died  in  1 65 1 ,  after 
having  held  the  post  of  chief  sculptor  to  the 
cathedral  for  some  forty  years ;  Gian  Bat- 
tista  Maestri,  known  as  Volpino  (d.  1 680), 
the  sculptor  of  the  imposing  figure  of  Sant* 
Aurea  in  the  Cathedral ;  Carlo  Simon- 
etta  (d.  1693),  careful  and  academic  (Fig. 
293);  Stefano  Sampietro  (d.  1716); 
Dionigi  Bussola,  weak  in  his  heroic  at- 
tempts, but  pleasing  enough  in  his  female 
statues,  as  we  see  in  his  S.  Dorothea 
^ig.  297) ;  Andrea  Prevosto,  and 
Giuseppe  Rusnati,  who  died  in  1713,  and 
with  whom  we  pass  into  the  eighteenth 
century  (Fig.  294). 

Sculpture  in  Milan,  although  it  still 
preserved  its  Baroque  character,  as  time 
went  on  gradually  became  more  subtle 
and  refined  under  the  influence  of  such 
French  artists  as  Coysevox,  Girardon,  Puget,  Coustou,  and  others. 
An  increase  in  grace  is  indeed  the  feature  that  chiefly  distinguishes 
this  art  from  the  preceding  period,  and  this  grace  was  the  special 
quality  which  the  French  masters  had  im- 
posed upon  the  Italian  sculpture  of  the 
cinquecento,  and  upon  the  Bernini  school  of 
the  seventeenth  century,  from  which  Girar- 
don mainly  drew  his  inspiration.  Nor  should 
we  forget,  in  considering  the  sculpture  of  this 
long  period,  derisively  christened  Baroque, 
that  even  if  we  condemn  the  conception  and 
forms  of  individual  works,  we  must  recognise 
its  perfect  and  superb  decorative  propriety, 
and  its  vivid  and  vital  portraiture. 

The  most  admired  sculptors  in  Milan  in 
the  eighteenth  century  were  Francesco 
Zarabatta,  notable  for  his,  at  that  time,  un- 
usual restraint  (Fig.  295)  ;  Carlo  Francesco 
Melone,  whose  modelling  is  full  of  grace  (Fig. 
296);  Carlo  Maria  Giudici  (1723-1804, 
Fig.  300)  and  Giuseppe  Franchi  (1729- 
1806),  the  last  two,  artists  of  a  transition 
period,  in  whose  work  the  restlessness  of  the 
176 


no.  299. — JUDAS  MACCABEUS 

(g.  monti),  and 

MATTATHIAS.    (g.  B.  PERABq) 

Cathedral,  Milan. 
{Fhoto.  Lissoni.) 


ARCHITECTURE  AND  SCULPTURE  IN  MILAN 


FIG.  300. — S.   JEROME. 
(C.  M.  GIUDICI.) 

Cathedral,  Milan. 


eighteenth  century  is  combined  with  a  cold 
academic  solemnity  in  a  manner  not  alto- 
gether unattractive. 

Meantime  Antonio  Canova,  of  whom  we 
have  already  spoken,  triumphed,  and  with 
him  neo-classicism  triumphed  unopposed 
in  the  Academy  of  Fine  Arts  established  in 
the  Brer  a,  where  Andrea  Appiani  applied 
the  same  principles  to  painting,  There 
flourished  at  that  time  in  Milan,  where  the 
influence  of  Canova  was  strengthened  by 
various  remarkable  examples  of  his  work 
(Fig.  298),  several  artists  of  respectable 
eminence  who  remained  faithful  to  their 
banner  even  for  some  time  after  the  fall  of 
the  Empire,  but  who  worked  under  the  chill- 
ing influence  of  an  external  theory  which 
may  justly  be  called  archaeological,  rather 
than   under   the   warm   breath  of  a  living 

internal  lire.  Hence  their  art  is  monotonous,  and  it  is  monotonous 
also  in  its  smooth  and  uniform  technique ;  this  was  a  reaction  from 
the  work  of  Bernini  and  his  followers  who  had  given  pictorial 
values  to  the  marble,  furrowing  the  material  in  various  ways,  leaving 
it  opaque  in  one  place,  in  another 
translucent.  Among  the  sculptors 
of  this  long  period  we  may  mention 
G.  B.  Perabd  (Fig.  299)  and 
Abondio  Sangiorgio  (1798-1879) 
to  whom  we  owe  the  sestiga  on  the 
Arco  della  Pace  (Fig.  285). 

To  these  men,  who  were  ousted 
by  the  triumph  of  Romanticism  (see 
p.  95),  succeeded  Pietro  Magni 
(1817-1877.  Fig.  301),  Vincenzo 

Vela    (1820-1891,     Fig.     303), 

Odoardo  Tabacchi  (1831-1905. 
Fig.  302),  Francesco  Barzaghi 
(1839-1892),  celebrated  chiefly  for 
his  equestrian  statue  of  Napoleon 
III.,  and  Giuseppe  Grandi  (1843- 
1894).  whose  beautiful  statue  of 
Beccaria  has,  strange  to  say,  been 

177 


FIG.   301. — MONUMENT  TO   LEONARDO 
DA  VINCI.       (p.   MAGNI.) 


Milan. 


{Photo.  Alinari.) 
N 


ART  IN  NORTHERN  ITALY 


pronounced  by  some  critics  inferior  to  his  confused 
and  pretentious  Monument  of  the  Five  Days. 

31BUOGRAPHY  OF  CHAPTER  XIII 

P.  Moriggi,  Sommario  Jelle  cose  memorabili  di  Milano,  Milan,  1 609 ; 
F.  Cassina,  Le  fabbriche  piU  cospicue  di  Milano,  Milan,  1 840 ;  C. 
Romussi,  Milano  nei suoi  monumenti,  Milan,  1875  ;  G.  Moretti  and  U. 
Nebbia,  La  conservazione  dei  monumenti  della  Lombardia,  Milan, 
1908;  A.  Ricci,  5/oria  dell'archilettura  ilaliana;  Liiblce,  Compendia 
di  sioria  delle  belle  arti,  p.  ii.  La  scultura,  Milan,  1901  ;  G.  Ferrario, 
Memorie  per  servire  alia  storia  deU'archilettura  milanese,  Milan, 
1843;  1.  Gelli  and  Gaetano  Moretti,  Gli  armaroli  milanesi,  Milan, 
1908;  Annali  della  f abb rica  del  Duomo  di  Milano,  Milan,  1877- 
1885;  G.  Carotti,  Vicende  del  Duomo  di  Milano  e  della  sua  facciata 
in  Archioio  storico  dell'arle,  ii,  1889;  C.  Romussi,  //  Duomo  di 
Milano,  Milan,  1906;  U.  Nebbia,  La  scoltura  nel  Duomo  di  Milano, 
Milan,  1908;  L.  Beltrami,  La  tulela  artislica  del  Duomo  di  Milano 
neU'ultimo  quarto  del  secolo  XIX,  Milan,  1900;  G.  Caimi,  Notizie 
sloriche  del  grand' ospedale  di  Milano,  Milan,  1887;  P.  Canetla, 
L'Ospedale  Maggiore  di  Milano,  Milan,  1880-1887  ;  S.  Monti,  Sforia 
ed  arte  nella  provincia  e  antica  diocesi  di  Como,  Como,  1901  ;  F. 
MjJaguzzi-Valeri,  Pellegrino  Pellegrini  e  le  sue  opere  in  Milano, 
Milan,  1901  ;  G.  Moretti,  In  memoria  di  Giuseppe  Piermarini,  Foligno, 
1909;  E.  Filippini,  /  pn'mi  Ai'ogro^  c/e/ Piermarini,  Perugia,  1909;  G. 
Natali,  Giuseppe  Piermarini,  Pavia,  1908;  E.  Filippini,  Ricerche  sal 
Piermarini,  Foligno,  1908;  Fabri-Scarpellini,  Intorno  alia  vita  e  alle 
opere  di  Giuseppe  Piermarini,  Foligno,  1908  ;  M.  Caffi,  /5o/an,  Milan, 
1885;  E.  Plon,  Les  maitres  italiens  au  service  de  la  maison  d'Autriche. 
Leone  Leoni  sculpteur  de  Charles  V  el  Pompeo  Leoni  sculpteur  de 
Philippe  II,  Paris,  1 887  ;  L.  Beltrami,  //  monumenlo  a  G.  C.  Medici  nel  Duomo  di  Milano  in 
Rassegna  d'Arte,{\,  1904;  A.  Rollins  Willard,  f/is/orp  o/Mo</ern  Italian  Art,  London,  1898; 
C.  Boito, 5co//ura  e  pittura  d'oggi,'Tunn,  1887  ;  C.  Boito,  Vincenzo  Vela  in  the  Nuova  Antologia, 
April,  1873;  A.  Venturi,  Vincenzo  Vela  in  the  Nuova  Antologia,  November,  1891  ;  G.  B. 
Toschi,  Vincenzo  Vela  in  the  Illustrazione  Italiana,  1 884 ;  C.  Barrera  Pezzi,  Vincenzo  Vela  in 
Arte  e  Storia,  x,  1901  ;  C.  Boito,  Barzaghi  scultore  in  the  Nuova  Antologia,  Oclobet,  1871  ; 
Piimo  Levi,  Due  scultori  (Giuseppe  Grandi  and  Ercole  Rosa),  Rome.  1896, 


FIG.  302. — 

S.  MARY  OF  EGYPT. 

(O.   TABACCHI.) 

Cathedral,  Milan. 


riG.    303. — LAST    DAYS    OF    NAPOLEON.      (viNCENZO    VELA.) 

Museum,  Versailles. 

178 


FIG.   304. — BURIAL  OF  THEMISTOCLES.       (G.  BOSSI.) 

Museum  of  the  Castle,  Milan.    {Photo,  Montabone.) 


CHAPTER    XIV 

PAINTING    IN    MILAN    AFTER    THE    SCHOOL    OF 
LEONARDO 

Eclectic  Character  of  Painting  in  Lombardy. —  The  Procaccini. — Cerano. — Caraoaggio  and 
Zuccari  at  Milan. — Painters  during  the  French  Occupation. — Appiani. — The  Brera 
Calkry. — The  Romanticists  and  Francesco  Hayez. 

From  the  close  of  the  sixteenth  to  the  end  of  the  eighteenth 
century  Lombardy  could  boast  of  many  good  painters,  but  not 
of  any  individual  school.  Her  painters  were  more  or  less  followers 
of  the  schools  then  flourishing  at  Venice,  at  Rome,  and  more 
especially  at  Bologna,  but  they  never  succeeded  in  creating  a 
distinct  type  of  their  own,  differing  from  the  others,  and  easily 
recognisable. 

It  should  be  noted  that  after  the  extinction  of  the  school  of 
Leonardo  and  before  the  arrival  of  the  Procaccini  from  Bologna, 
a  group  of  painters  from  Cremona  and  from  Lodi  worked  with 
much  success  at  Milan ;  besides  the  members  of  the  Campi  and 
Piazza  families,  and  that  Nicola  d Appiano  who  has  been  identified 
by  some  with  the  Pseudo-Boccaccino,  we  find  Giovan  Paolo 
Lomazzo  (1538-1600),  a  mannered  but  vivacious  artist,  and  the 
author  of  an  interesting  treatise  on  painting,  and  his  disciple,  Ambrogio 
Figino  (I  548-1600  ?),  a  mediocre  painter  of  historical  subjects,  but 
a  successful  portraitist  (Fig.  305). 

179  n2 


ART  IN  NORTHERN  ITALY 


FIG.  305. — PORTRAIT  OF 
LUCIO   FOPPA.      (a.    FIGINO.) 

Brera,  Milan. 
(Photo.  Anderson.) 


The  lack  of  biographical  material  concern- 
ing the  family  of  the  Procaccini  is  one  of  the 
many  gaps  in  the  history  of  art.  All  we 
know  of  them  is  still  confined  to  the  scanty 
notices  of  the  old  writers.  And  yet  they 
were  a  family  of  artists  of  no  little  importance, 
and  comparatively  modern,  concerning  whom 
we  might  expect  the  archives  to  furnish  us 
with  an  abundant  harvest,  or  at  any  rate  to 
give  us  the  important  dates.  But  what 
attempt  has  yet  been  made  to  establish  the 
birth  year  or  the  death  year  of  Ercole 
Procaccini,  the  elder,  or  those  of  his  sons, 
Camillo,  Giulio  Cesare,  and  Carlo  Antonio  ? 
Who  has  inquired  into  the  interesting  ques- 
tion of  the  date  when  this  family  of  artists 
passed  from  Bologna  to  Milan  ?  There  is 
some  evidence  that  it  was  about  1570,  but 
nothing  definite  is  known.  According  to 
Baldinucci,    Giulio    worked    at    first    as    a 

sculptor,  but  after  a  time  he  abandoned  the  practice   of  sculpture 

and  devoted  himself  to  painting.     Now, 

in  contradiction  to  this  statement,  there 

is   strong   evidence   that   Giulio   never, 

or  only  very  late  in  life,  gave  up  the 

practice  of   sculpture,   since   as  late   as 

1617,  when  he  had  for  some  years  past 

taken  to  painting  also,  he  undertook  to 

carve  for  the  Cathedral  of  Milan  (for 

which  building  he  had  already  executed 

several  statues)  a  group  representing  the 

"  Disputation  in  the  Temple,"  a  work 

that  was  ultimately  carried  out  by  others. 
From  what  masters  did  Camillo  and 

Giulio   learn    their    art  ?      What   artists 

did   they   select   for   imitation  ?     Their 

father  was,  no  doubt,  their  master,  but 

the  painters  of   the   magnificent  school 

of    Parma — Correggio    and    Parmigia- 

nino — were  their  exemplars,  while  it  was 

not  in  vain  that  they  had  studied  the  works  of  Federico  Barocci, 

who  had  paid  several  visits  to  Milan  between  1592  and  1602. 

180 


fig.  306. the  magdalen. 

(g.  c.  procaccini.) 
Brera,  Milan. 
(Photo.  I.  I.  d'Arti  Grafiche.) 


PAINTING  IN  MILAN 


As  we  shall  see,  the  Bolognese  painters  of  the  last  quarter  of  the 
sixteenth  century  scorned  the  formulas  of  the  Roman  school ;  they 
admired  the  splendours  of  the  Venetians,  but  it  was  the  school 
of  Parma  that  they  followed  almost  without  reservation.  We 
cannot  now  say  whether  it  is  true  that  Giulio  Procaccini,  as 
Ticozzi  relates,  succeeded  in  imitating  the  pictures  of  Correggio 
so  as  to  deceive  the  best  experts.  It  is  at  least  certain  that  several 
of  his  works,  both  in  public  and  private  galleries,  are  attributed 
to  Parmigianino.  Although  the  tendency  to  exaggerated  length 
that  we  find  in  the  somewhat  effeminate  forms  of  the  latter  artist  is 
corrected  in  the  figures  of  Giulio  Procaccini,  yet  the  types  selected, 
their  iridescent  colour  enlivened  by  unexpected  ruddy  passages,  and 

their    poses    are    the    true 

offspring  of  those  graceful 
creations  which  issued 
from  the  brain  and  brush 
of  the  Emilian  master 
(Fig.  306).  Malvasia  de- 
clared that  Camillo  was 
tulto  piacevole  e  vago  and 
Giulio  tutto  severo  e  forte. 
These  are  adjectives 
thrown  out,  as  it  were,  at 
hazard,  without  much  re- 
flection, seeing  that  any 
quality  might  be  denied  to 
Giulio  rather  than  gentle- 
ness and  charm,  while 
these,  on  the  other  hand,  are  qualities  that  we  seek  in  vain  in 
Camillo,  an  artist  whose  colour  has  less  suavity  and  whose  design 
has  less  grace. 

And  this,  too,  must  have  been  the  opinion  of  contemporary 
artists,  seeing  that,  as  a  master,  they  gave  the  preference  to  Giulio, 
A  disciple  who  was  faithful  to  him  for  a  considerable  time  was 
Enea  Salmeggia,  known  as  Talpino  (1550-1626,  Fig.  307); 
associated  with  the  latter  we  find  Daniele  Crespi,  and  the  two 
Nuvoloni  brothers  (known  also  as  Panfilo  from  the  name  of  their 
father,  a  Cremonese  painter)  drew  their  inspiration  from  his  works. 

The  seventeenth  century  biographers  provide  scanty  notices,  and 
these  uncertain  and  contradictory,  concerning  Gian  Battista 
(1557-1633),  the  father  of  Daniele  Crespi,  who  was  known  as 
Cerano  from  his  birthplace  in   the  province  of  Novara.     They 

181 


E^??rT.  :."^ 

Kir 

f^^jr 

Si 

^K^^' 

307. martyrdom  of  s.  alexander. 

(e.  salmeggia.) 
Accademia  Carrara,  Bergamo. 
(Photo.  I.  I.  d'Arti  Grafiche.) 


ART  IN  NORTHERN  ITALY 


FIG.   308. — DEATH  OF  THE  VIRGIN. 
(MICHELANGELO  DA  CARAVAGGIO.) 

The  Louvre,  Paris. 
{Photo.  Alinari.) 


agree,  however,  in  the  statement  that  as  a  youth  he  was  sent  to 
study  at  Rome  and  at  Venice ;   he  then  settled  in  Milan,  where  he 

was  appointed  Court  painter  and  super- 
intendent of  the  works  of  statuary  in  the 
cathedral  (from  1629  to  the  day  of  his 
death)  ;  he  also  obtained  the  patronage 
of  Cardinal  Borromeo,  and  he  has  left 
highly  appreciated  works  in  the  city,  both 
pictorial  and  architectural.  We  see  in 
his  pictures  the  influence  of  the  Novara 
school ;  we  may  judge  that  from  a  child 
he  had  had  before  his  eyes  many  works 
by  Gaudenzio  Ferrari ;  and  if  something 
non-Lombard  in  origin  is  to  be  discovered 
in  them,  it  consists  of  certain  fugitive 
reminiscences  of  Federico  Barocci  and 
II  Rosso  Fiorentino,  from  whom  he 
would  seem  to  have  derived  the  boy 
angel  who  is  bending  strenuously  over 
the  big  viola,  and  whose  little  many- 
coloured  wings  are  quivering  with  the 
effort — the  delicious  motive  to  be  found 
in  the  large  picture  in  the  Brera.  Cerano,  however,  is  more  modern 
in  his  brushwork  than  either  II  Rosso  or  Barocci,  and  it  was  he,  per- 
haps, who  first  made  use  of  silvery  passages,  and  of  those  vitreous 
glazings,  which,  after  their  triumphant  application  in  the  works  of  Giu- 
seppe Maria  Crespi,  known  as 
Lo  Spagnuolo,  were  adopted 
by  Piazzetta  and  Tiepolo. 

When  we  examine  the 
pictures  of  the  Procaccini  and 
Cerano  we  cannot  but  feel 
surprised  to  find  that  they 
are  entirely  free  from  the  aca- 
demic influence  of  Federico 
Zuccari  (who  was  working  in 
Milan  in  1  597  and  again  in 
1601),  as  well  as  from  the 
stern  and  troubled  naturalism 
of  Michelangelo  Merisio  da 
Caravaggio  (1569-1609,  Fig.  308).  It  is  true  that  the  latter,  as  a 
result  of  his  violence  and  eccentricity,  had  early  to  leave  Caravaggio 

182 


FIG.   30g. THE  painter's  FAMILY. 

(C.   F.   NUVOLONI.) 

Brera,  Milan.     {Photo.  Anderson.) 


PAINTING  IN  MILAN 


FIG.   310. — RUSTIC  SCENE. 
(f.  LONDONIO.) 

Cassano  d'Adda,  Villa  Borromeo, 
Milan.     {Photo.  Montabone.) 


and  Milan,  seeking  work  elsewhere,  and  more  often  finding  strife  and 

penalties  ;   but  he  had  already  painted  subject  pictures  and  portraits 

in  Lombardy,   and  his  manner,   which, 

both    in    conception    and    in    execution, 

had  a  certain  tragic  efficiency,  had  won 

him    admirers    even    in    that    Bolognese 

School   against  which   he  had   battled, 

and  at  a  later  date  fervent  followers  in 

Southern  Italy.     Here,  unconsciously,  he 

was    the    founder    of    a    school    which, 

culminating  in  Ribera,  Mattia  Preti,  and 

others,  came  to  be  known  as  Neapolitan. 
Daniele  Crespi,  as  far  as  can  be  judged 

from  the  works  that  are  assigned  to  him, 

likewise  escaped  all  influence  from  this 

quarter.     But  unfortunately  tliese  do  not 

allow  us  to  define  his  artistic  personality 

with   absolute  precision,   so  various  are 

they  in  execution.     Born  at  Busto  Arsizio 

in    1 590,    he   studied    under   his   father 

Cerano  and  with  Giulio  Procaccini ;   he 

found    employment    in    the    Certosa    of 

Pavia,  and  in  the  Ducal  Palace  at  Milan ;    and  finally  he  died 

of  the  plague  at  Milan  in  1630,  when  he  had  barely  completed  his 

fortieth  year. 

Daniele  Crespi,  then,  founded  no  school,  and  in  this  he  differed 

from    Pier   Francesco    Mazzucchelli    (1571-1626),    known    as    II 

Morazzone  from  the  place 
of  his  birth,  near  Varese. 
In  his  case,  again,  there  is 
a  deficiency  of  biographical 
detail ;  nor  can  we  place 
much  reliance  upon  those 
critics  who,  on  the  ground 
that  as  a  youth  he  went 
to  Rome,  describe  him  as 
influenced  by  the  schools 
there  in  vogue  at  the^close 
of  the  sixteenth  century. 
It  is  evident  that  he  de- 
veloped under  the  influence  of  Lombard  and  Bolognese  masters, 

more  especially  under   that  of   Camillo   Procaccini.     Under   the 

183 


U.     311. — CUPID     AND     PSYCHE.      (.0.     TRABAI.I.ESI.) 

Frizzoni  Collection,  Milan.     {Photo.  Anderson.) 


ART  IN  NORTHERN  ITALY 


FIG.  312. — APOLLO  AND  DAPHNE. 

(a.  APPIANI.) 
Brera,  Milan.     (Photo.  Brogi.) 


protection  of  Cardinal  Borromeo 
he  found  extensive  employment 
in  Lombardy,  and  he  was  about 
to  undertake  the  decoration  of 
the  cupola  of  the  cathedral  of 
Piacenza  at  the  time  of  his  death. 
After  this  time  there  was  a 
sensible  falling  off  in  Lombard 
painting,  and  the  obscurity  of  the 
artists  of  the  day  corresponds  to 
the  slight  importance  of  their 
works.  That  they  were  experts 
in  the  handling  of  the  brush  is  all 
that  can  be  said  of  them  for  the 
most  part.  Some  few  are  on  a 
slightly  higher  level,  as  Francesco 
Londonio  (1723-1782),  a  most 
prolific  painter  of  pastoral  subjects 
(Fig.  310),  and  as  a  painter  of  animals  worthy  of  a  place  beside 
Rosa  da  Tivoli  and  Castiglioni ;  finally,  Giuliano  Traballesi  (1  727- 
l  61 2),  who  migrated  from  Florence 
to  Milan,  and  there  applied  himself 
to  decorative  work  with  a  grace  and 
dexterity  (Fig.  311)  derived  to  some 
extent  from  Tiepolo ;  he  has  left 
marvellous  decorations  in  Milan  in 
the  Clerici,  Archinti,  and  Dugnani 
Palaces,  to  say  nothing  of  his  work 
in  S.  Ambrogio. 

When  subsequently,  during  the 
"  French  "  period,  Milan  became 
the  most  important  city  of  Italy,  and 
when,  as  we  know,  artistic  taste  took 
another  direction,  some  painters  of 
true  merit  flourished  in  the  city,  such 
as  Giovanni  Bellati  (1745-1808), 
Giuseppe  Mazzola  (1748-1838), 
and  Giuseppe  Bossi  (1777-1815), 
an  artist  of  much  culture  and  re- 
finement (Fig.  304).  It  is  to  him, 
to  the  learned  Carlo  Bianconi,  writer  on  art  and  indefatigable 
collector,  and  to  Andrea  Appiani,  that  we  owe  the  inauguration  of 

184 


FIG.   313. — THE  ANTIQUARY. 
(d.   INDUNO.) 

Accademia,  Florence.     (Photo.  Alinari.) 


PAINTING  IN  MILAN 


the  magnificent  Brera  Gallery.  Appiani,  we  may  mention,  was 
the  most  celebrated  and  authoritative  artist  of  the  Napoleonic  period 
in  Milan,  and,  after  Canova  and  David,  the  most  convinced  and 
thorough-going  representative  of  neo-classicism.  Hence  it  can 
readily  be  understood  that  he  had  greater  success  in  mythological 
subjects  (Fig.  3 1 2)  than  in  those  derived  from  sacred  or  profane 
history.  Appiani,  however,  was  no  slave  to  his  school,  for  a  certain 
individuality  both  of  sentiment  and  of  execution  distinguishes  him 
from  his  contemporaries.  He  excels,  too,  in  his  portraits,  dwelling 
upon  those  traits  which  give  likeness  and  character,  and  emphasising 
them  with  a  rare  dignity  of  pose  and  severity  of  technique. 
Appiani  was  born  at  Bosisio,  the  home  of  Giuseppe  Parini,  in  1  754, 
and  was  sent  to  study  at  Milan,  where  he  at  once  attracted  attention 
by  some  portraits.  It  was  in 
I  790  that  he  obtained  his  first 
great  successes  with  his  pic- 
tures of  S.  Elizabeth  and  of 
Hercules  at  the  Cross-roads; 
later  he  was  entrusted  with 
the  frescoes  on  the  spandrils 
beneath  the  cupola  of  S.  Maria 
presso  S.  Celso.  A  man  of 
a  practical  and  clear-sighted 
bent,  he  succeeded  in  making  a 
career  for  himself  not  only  in 
the  arts,  but  in  public  life,  so 
that  we  find  him  successively 
member  of  the  Legislative 
Chamber  of  the  Cisalpine 
Republic  (1797),  elector  in  the  Collegio  dei  Dotti(]  802),  member 
of  the  Institute  of  Science,  Literature,  and  Art,  and  keeper  of  the 
Brera  Gallery  after  having  cleverly  ousted  Bossi  from  this  post.  His 
most  famous  work  is  the  decoration  of  the  Royal  Palace,  which  he 
left  unfinished,  for  in  1813  he  had  an  apoplectic  stroke  which  put 
an  end  to  his  activity,  although  he  lingered  on  for  another  four  years. 
After  the  death  of  Appiani  the  classical  painters  produced  little, 
so  that  the  victory  of  the  Romanticists  in  this  case  was  an  easy  one ; 
the  victory  was  brought  about  by  a  small  group  of  painters,  among 
whom  Francesco  Hayez,  who  came  from  Venice,  was  the  most 
prominent  (See  p.  95). 

The    influence    of    the    art    of    the    day    was   all-powerful.     It 
transformed  the  style  of  painters  educated  in  a  different  school,  and 

185 


FIG.  314. — CONDEMNATION  OF  THE  HUGUENOTS. 

(a.  FOCOSI.) 

Museum  of  the  Castle,  Milan. 

{Photo.  Monlabone.) 


ART  IN  NORTHERN  ITALY 


FIG.   315. — SORDELLO. 
(f.  FARUFFINI.) 

Museum  of   the   Castle,   Milan 
{Photo.  Brogi.) 


it  was  still  to  be  recognised  even  in  those 
artists  who  sought  after  and  attained  to 
new  effects,  urged  on,  on  the  one  side,  by 
the  example  of  France,  on  the  other  by 
that  of  Naples,  where  at  that  time 
Antonio  Palizzi  and  Domenico  Morelli 
were  at  work,  if  not  with  new  ideas,  at 
least  with  a  new  fervour.  Painting  in 
Milan,  as  in  the  rest  of  Italy,  continued 
for  the  whole  course  of  the  nineteenth 
century  more  or  less  under  the  influence 
of  Romanticism ;  romantic  in  spirit  it  in- 
deed always  remained,  under  the  influence 
of  literature  and  of  the  drama,  no  less 
than  under  that  of  Hayez. 

However,  at  the  time  some  excellent 
artists  were  at  work,  such  as  that  eccentric 
painter  Giovanni  Carnevali,  known  as 
Piccio  (1804-1876),  Alessandro  Focosi 
(1836-1869,  Fig.  314),  Domenico  and  Girolamo  Induno^the 
former  (1815-1878)  excelling  in  genre  paintings  (Fig.  313),  the 
latter  successful  in  mihtary  subjects — Federico  Faruffini  (1831- 
1 869,  Fig.  3 1 5),  and  many  others.  Nor  must  we  be  led  astray  by 
the  technique  of  Tranquillo  Cremona 
(1837-1878);  in  spirit  he  remained  to 
the  end  a  Romanticist  (Fig.  316).  How 
far,  on  the  other  hand,  Mose  Bianchi 
( 1 840- 1 904),  a  painter  of  much  elegance, 
and  Giovanni  Segantini  (1858-1899), 
succeeded  in  freeing  themselves  from  the 
Romantic  tradition  still  remains  a  question. 
The  latter  was  a  spirited  investigator  of 
the  problems  presented  by  Alpine  land- 
scape and  a  successful  handler  of  light 
(Fig.  317). 

It  will  be  the  task  of  succeeding  genera- 
tions to  estimate  the  strength  of  the 
dominion  of  Romanticism  upon  the  art 
of  Italy  in  the  nineteenth  century ;  they 
will  be  able  to  determine  its  limits  and 
to  define  the  characters  that  distinguish  its  ideals  from  those  of 
preceding  and  succeeding  eras.     We,  for  our  part,  must  not  let 

186 


FIG.   316. THE  rVY. 

(t.  CREMONA.) 

Property  of  the  Commune  of 
Turin. 


PAINTING  IN  MILAN 

ourselves  be  deceived  by  every  cry  of  fresh  conquests  or  of 
reform.  Lorenzo  Bartolini  was  convinced  that  he  had  routed  the 
Academicians  amid  the  clamour  of  those  who,  along  with  him,  in 
perfect  faith,  believed  themselves  to  be  revolutionaries.  At  the  present 
day  Bartolini,  too,  takes  his  place  in  his  niche  as  an  Academician. 
Meantime  the  historians  of  the  future  will  do  justice  to  the 
Romantic  School  of  art,  a  school  that  was  developed  in  harmony 
with  a  splendid  school  of  literature  and  with  a  splendid  music, 
above  all,  with  a  great  civic  and  patriotic  movement  that  gave  back 
to  Italians  their  Fatherland. 

BIBUOGRAPHY   OF   CHAPTER   XIV 

L.  l^anii,  Storia  piUorica  J'llalia',  G.  Rosini,  5/ona  Jella  pittura  ilaliana'.  L.  PascoK,  Vile  Ji 
pitiori,  scultori  e  architetti  moderni;  Malvasia,  Felsina  piltrice,  Bologna,  1842;  G.  BagUone,  Le 
Vile  dei  pitiori,  scultori,  archilelli  e  inlaglialori ',  V.  Marchese,  Memorie  dei  pitiori,  scultori, 
architetti  domenicani ;  S.  Ticozzi,  Dizionario  dei  pitiori,  Milan,  1818:  A.  Oi\anS,  A becedario 
pitlorico,  Bologna,  1704;  J.  Meyer,  Allgemeines  Kiinsller-Lexikon:  U.  Thieme  and  F.  Becker, 
Allgemeines  Lexikon  der  bitdenden  KUnstler;  J.  Burckhardt,  Der  Cicerone;  C.  Ricci,  La  Pina- 
coleca  di  Brera ;  F.  MeJaguzzi- VaJeri,  Catalogo  della  R.  Pinacoteca  di  Brera ;  Guida  Sommaria 
della  Biblioleca  Ambrosiana,  Milan,  1907;  G.  Mongeri,  L'Arte  in  Milano,  Milan,  1872;  L. 
Malvezzi,  Leglorie  dell'arle  lombarda,  Milan,  1772;  A.  Caimi,  Delle  arli  del  disegno  .  .  .  .  di 
Lombardia  dal  1777  al  1862,  Milan,  1862;  C.  Ricd  in  Die  Galerien  Europas,  Leipsic,  1909; 
P.  Gauthiez,  Milan,  Paris,  1905  .  F.  Malaguzzi-Valeri,  Milano,  Bergamo,  1906;  E.  Verga,  U. 
Nebbia,  L.  Marzorati,  Guida  di  Milano,  1906  ;  A.  Bertolotti,  Artisli  lombardi  a  Roma  nei  secoli 
XV-XVIII.  Milan,  1881  ;  A.  Rollins  Willard,  History  of  Modem  Italian  Art;  Callari,  Storia 
dell'arte  contemporanea ;  A.  Colasanti,  Fifty  Years  of  Italian  Art;  F.  Romani,  Crilica  artistica- 
scientifica,  Turin,  1884;  I.  G.  Isola,  Le  lellere  e  le  arti  belle  in  Italia  a'  di  nostri,  Genoa,  1864; 
P.  Villari,  La  pittura  modema  in  Italia  e  Francia,  Florence,  1869;  G.  Rovani,  Le  Ire  arli 
considerate  in  alcuni  illuslri  italiani  contemporanei,  Milan,  1874:  De  Gubematis,  Dizionario 
degli  artisli  italiani ;  U.  Ojetti,  Le  belle  arti  daW  Hastz  agl'  Induno,  Milan,  1899  ;  L.  Lamberti, 
Descrizione  dei  dipinti  a  buon  fresco  delt'Appiani,  Milan,  1810:  R.  Bonfadini  and  F.  Martini, 
/  fasti  del  primo  regno  ilaliano  dipinti  da  Andrea  Appiani,  Florence,  n.  d. ;  L.  Beltrami, 
Francesco  Hoysz,  Milan,  1883;  Hayez,  Le  mie  memorie,  Milan,  1890:  C.  Boiio,  L'ullimo  dei 
pitiori  romantici  (Hayez)  in  the  Nuooa  Antologia,  May.  1891  ;  C.  Boito,  Eleulerio  Pagliano  in 
the  Nuooa  Antologia,  1871;  Eleulerio  Pagliano  (1826-1903),  Milan,  1903;  G.  Carotti. 
Giuseppe  Berlini  in  the  Emporium,  ix,  Bergamo,  1899;  G.  Pisa,  Mose  Bianchi  in  Emporium, 
V,  1897:  G.  Pisa,  Tranquillo  Cremona,  Milan,  1899:  E.  ZoccoK,  Gioyanni  5eganWni  ( 1 858- 
1889),  Milan,  1900;  L.  Villari,  Giovanni  Seganlini,  London,  1891  ;  William  Ritter,  Giovanni 
Seganlini in  the  Gazette  des  Beaux-Arts,  1898,  xix,  302  :  Giovanni  Seganlini,  special  number  d 
the  Marzocco,  Florence,  1899:  L.  Beltrami,  Giovanni  Seganlini  in  the  Nuova  Antologia, 
Nov.,  1899:  F.  Servaes,  Giovanni  Seganlini,  L-eipsic,  1907:  Primo  l^vi,  SeganWnr,  Rome, 
1900:  G.  P.  Ludni,  La  pitlara  lombarda  del  sec.  XIX  alia  Permanente  di  Milano  in  Emporium, 
xii.  1900. 


FIG.     317. — AT    THE    SPRING.      (G.    SEGANTINI.) 

187 


FIG.   318. — FRAGMENT  OF  THE  ALTAR-FRIEZE.       CERTOSA,  PA  VIA. 

(Photo.  Alinari.) 


CHAPTER   XV 

ART  INT  LOMBARDY 

LoDi.  Cremona  and  Pavia 

Lombard  Character  of  Art  in  this  District. —  The  Comacini. —  The  Piazza  Familg. — Painters  at 
Cremona. —  The  Bembo  Famil'S:  Boccaccino,  The  Campi,  Sofonisba  Anguissola. — The 
Cathedral  of  Cremona. — Pavia :  The  Certosa. —  The  Mantegazza  at  Pavia. — A  madeo. — 
Sculpture  in  the  Certosa. 

Brescia  and  Bergamo,  in  art  as  in  politics,  followed  on  the 
whole  in  the  wake  of  Venice,  although  from  their  geographical 
position  one  might  rather  have  expected  them  to  turn  to 
Milan,  who,  however,  extended  her  influence  in  the  direction  of 
Piedmont  and  of  Liguria.  On  the  other  hand,  a  distinctly  Lombard 
character  may  be  found  in  another  not  less  important  group  of  cities 
and  small  towns  scattered  over  the  more  southerly  and  western 
parts  of  the  vast  plain  comprised  between  the  Alps,  the  Ticino,  the 
Po  and  the  Mincio.  It  is  only  near  Varese,  at  Castiglione  d'Olona, 
that  we  come  upon  an  oasis,  as  it  were,  of  Tuscan  art.  There  as 
we  have  seen,  the  style  of  Brunelleschi  appears  in  the  "  Chiesa  di 
Villa"  (Fig.  227)  ;  and  there,  rather  than  at  Florence  or  at  Rome, 
we  may  study  the  work  of  Masolino  da  Panicale  who  decorated  the 
Collegiate  Church  and  the  adjacent  baptistery.  (See  above  p.  137.) 
But  it  would  be  impossible  to  notice  one  by  one  the  cities,  great 
and  small,  the  villages,  the  castles,  all  of  them  notable  from  an 
artistic  point  of  view,  that  arise  along  the  lower  Alpine  slopes  or  are 
scattered  over  the  fertile  plain.     On  every  side,  it  may  be  said,  rise 

188 


ART  IN  LOMBARDY 


FIG.   319. CATHEDRAL,  MONZA. 

{Photo.  Alinari.) 


monuments  worthy  of  note.  From  Monza,  on  the  one  hand, 
proud  of  its  cathedral  (Fig.  3 1 9)  built  by  Matteo  da  Campione 
and  not  less  of  its  Longo- 

bard    treasure,    to    Crema,  ~  ' 

on  the  other,  a  town  which, 
in  S.  Maria  della  Croce, 
boasts  one  of  the  most 
elegant  buildings  erected  in 
the  style  of  Bramante  (see 
above  p.  140  and  Fig. 
235);  from  Como  whose 
cathedral,  from  1396  on- 
wards, two  centuries  have 
endowed  with  beauties, 
varied  indeed  but  har- 
monious in  style,  (see  above 
p.  140  and  Fig.  236)  to 
Saronno,  famous  for  its 
"  Santuario,"  built  by  Pietro  dell*  Orto  in  1498,  and  adorned 
with  frescoes  by  Luini  and  by  Gaudenzio  Ferrari  (Fig.  320) ; 
from  Varese,  which  owns  in  its  Madonna  del  Monte  one  of 
the  most  solemn  and  harmonious  blendings  of  the  works  of  man 
and  those  of  nature,  to  Pallanza,  whose  proximity  is  announced 
by  the  graceful  cupola  of  the  fifteenth  century  Madonna  di  Campagna, 
rising  boldly  amid  the  green 
foliage  ;  from  Forno,  which 
prides  itself  upon  its  noble 
S.  Giovanni  with  its  sump- 
tuous porch  sculptured  by 
the  Rodari,  to  Lodi  with  its 
Church  of  the  Incoronata, 
that  masterpiece  of  Bat- 
tagio  and  Giovanni  Dolce- 
bono  of  which  we  have 
already  spoken  (p.  1 40  and 
Fig.  234).  And  in  every 
town  were  born  artists 
who  attained  to  positions 
of  note,  although  they  may 
not  have  been  brought  together  in  contemporary  groups  and  in 
schools  with  common  aims. 

To  Lodi  belongs  the  well-known  family  of  Piazza,  which  pro- 

189 


no.  320. — CHURCH  OF  SARONNO. 

(Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


duced  so  many  painters ;  of  these,  however,  only  the  following 
are  now  remembered : — Albertino  (d,  1 529,  Fig.  321);  his 
brother,  Martino  (Fig.  323),  who  at  the  beginning  painted  under 
the  influence  of  Bergognone,  then  passed  to  the  manner  of  Leonardo 
(the  connecting  link  was  perhaps  Cesare  da  Sesto),  and  finally  to  that 
of  Raphael ;  and  Calisto,  who  was  working  up  to  about  1  562,  and 
whose  style  shows  the  influence  of  Romanino  and  of  Pordenone. 
It  would  be  impossible  to  exaggerate  our  ignorance,  up  to  the 
present  time,  of  the  work  of  the  older  members  of  the  Piazza 
family,  and  the  extent  to  which  their  work  has  been  confused  with 
that  of  other  artists. 

But  of  all  the  cities  of  Lombardy,  Cremona  was  the  one  which 

produced  the  largest  and  most 
compact  group  of  painters.  The 
Bembo  family,  originally  from 
Brescia,  the  Boccaccino  and  the 
Campi  would  suffice  to  give  it 
fame.  But  in  addition  to  these  the 
following  competent  artists  must  not 
be  forgotten  :  Cristoforo  Moretti, 
Filippo  and  Francesco  Tacconi, 
painters  who  flourished  shortly 
after  the  middle  of  the  fifteenth 
century,  the  first  wavering  between 
the  schools  of  Lombardy  and  Ver- 
ona, the  other  two  inclining  to  the 
school  of  Venice,  more  especially 
to  Giovanni  Bellini ;  Tommaso 
Aleni,  known  as  Fadino,  and  Fran- 
cesco Casella,  both  of  whom  lived 
to  about  I  525,  in  the  surrounding 
country  for  the  most  part,  dominated 
by  the  art  of  Boccaccino,  and  drawing  sweetness  from  the  vision  of 
the  picture  (still  in  S.  Agostino)  which  Perugino  had  painted  for 
Cremona  in  1494  ;  Altobello  Ferrari,  known  as  Melone  (Fig.  322), 
a  good  draughtsman  whose  strident  colour  exaggerated  the  ardent  hues 
of  Romanino  ;  Bernardino  Gatti,  known  as  II  Soiaro  (1 495  ?-l  575), 
a  gay  and  pleasing  if  not  profound  decorator,  who  following  in  the 
steps  of  Pordenone  and  Correggio  (Fig.  324),  in  the  numerous  works 
that  he  carried  out  at  Piacenza  and  at  Parma,  threw  himself  into 
the  new  movement ;  Sofonisba  Anguissola  (1  535-1632),  his  pupil, 
second-rate  as  a  painter  of  sacred  subjects,  but  an  artist  of  much 

190 


FIG.    321. MARRIAGE    OF    S.    CATHERINE 

(a.  PIAZZA.) 

Accad.  Carrara,  Bergamo. 
(Photo.  I.  I.  d'Arti  Grafiche.) 


ART  IN  LOMBARDY 


elegance   and   refinement  in   her  portraits 

(Fig.  325)  ;  in  such  work,  indeed,  she  was 

so   successful   that   she  was  summoned   to 

the  Court  of  Spain,  where  she  attained  to 

a  high  position  both  as  artist  and  woman. 

Sofonisba  became  the  wife  of  Don  Fabrizio 

di    Moncada,    with   whom   she   lived    in 

Sicily ;    after  his  death,  returning  to  her 

birthplace,    she    accepted    the   offer   of    a 

second  marriage  from  the  captain  of  the 

galley  that  was  bearing  her  home ;   in  her 

old  age  she  reckoned  Van  Dyke  among  her 

most  respectful  admirers.     Finally,  mention 

must   be   made   of   Gian   Battista   Trotti, 

known  as  MaIosso(  1555-1 6 19,  Fig.  326), 

a  rapid   and   successful   draughtsman,   but 

a     somewhat  crude  colourist.     Trotti  was     ™-  2';:;7nS'G'ELs^  ''''°^'' 

brought  up  in  the  school  of  the  Campi,  (a.  melone.) 

but     was     early     converted     to     that     of        S.  Abbondio  Cremona. 

P-'  ,  ,         !•        1     f  (.Fhoto.  Ahnart.) 

arma,    a    town    where    rie    lived    tor    a 

long  time  as  painter  to  the  Duke,  and  where  he  com- 
peted with  Annibale  Carracci. 
All  the  artists,  Cremonese  by 
birth  or  by  adoption,  who  have 
been  mentioned  so  far,  spent  some 
time  under  the  tutelage  of  the 
Bembo,  the  Boccaccino,  or  the 
Campi  families. 

Of  the  painters  of  the  Bembo 
family,  the  oldest,  Bonifacio,  was 
the  most  celebrated.  The  docu- 
mentary evidence  concerning  this 
artist  ranges  from  1447  to  1478 
and  records  paintings  by  him  in 
Cremona,  in  Milan,  and  especially 
in  the  casde  of  Pavia,  where 
together  with  Foppa,  Bugatto,  and 
others,  he  worked  for  long  upon 
a  series  of  large  pictures  repre- 
senting contemporary  life  (feasts, 
games,  hunting  scenes,  etc.).  Gian  Francesco  (Fig.  327)  and 
Pietro  Bembo,  who  lived  at  a  later  date,  made  their  way  into  the 

191 


no.  323. — MADONNA.       (m.  PIAZZA.) 

Accad.  Carrara,  Bergamo. 
{Photo.  I.  I.  d'Arli  Grafiche.) 


ART  IN  NORTHERN  ITALY 


FIG.    324. ADORATION    OF   THE    SHEP- 
HERDS.      (SOIARO.) 

S.  Pictro,  Cremona. 
{Pholo.  Alinari.) 


artistic  circle  of  Boccaccio  Boccaccino 
and  of  the  Campi,  with  whom  they 
worked  in  the  cathedral  of  Cremona. 
Boccaccio  Boccaccino  (1467?- 
I  525  T)  passed  his  youth  in  Ferrara, 
where  his  father,  Antonio,  was  an 
embroiderer.  In  1496  he  was  in 
Venice,  in  1497  in  Genoa  and  in 
Milan,  where  he  suffered  imprison- 
ment;  in  1499  he  was  again  in 
Ferrara,  where  he  killed  his  wife, 
who  was  guilty  of  adultery,  and 
where  he  left  some  traces  of  his 
influence,  as  for  example,  in  Mazzo- 
lino's  Adoration  of  the  Shepherds, 
now  in  the  public  gallery  of  that 
city.  After  other  wanderings  he 
fixed  his  habitual  residence  in 
Cremona.  His  manner  shows  him 
to  have  been  in  the  beginning  a  follower  of  Cima  da  Conegliano 
and  Alvise  Vivarini,  and  at  a  later  date  of  Bramantino.  In 
composition  and  in  the  arrangement  of  drapery  his  style  was  large 
and  simple,  and  his  execution  accurate.  Boccaccino,  moreover, 
showed  great  distinction  and  sweetness  in  his  colour  and   types, 

and  his  work  is  more  especially  to  be 
recognised  by  the  expression  of  gende 
amazement  in  the  luminous  eyes  of  his 
personages  (Fig.  328). 

Two  artists  worked  side  by  side 
with  Boccaccino  :  one,  his  son  Camillo 
(1501-1546),  the  other  an  anonymous 
painter,  known  at  present  by  the 
nickname  of  the  Pseudo-Boccaccino ; 
he  has  been  identified  by  some,  on 
rather  inconclusive  evidence,  with  the 
Nicola  d'Appiano  mentioned  on  p.  1  79. 
Galeazzo  Campi,  again  (1477-1  536), 
FIG.  325. — PORTRAIT  OF  THE  ARTIST,     was  a  pupil  of  Boccacclo  Boccaccino. 

But  neither  the  excellence  of  his  master 
nor  familiarity  with  Perugino's  picture 
sufficed  to  mitigate  the  rudeness  of  his  style,  manifested  both  in  his 
drawing  ?ind  in  his  ruddy  colouring.    Of  his  three  sons  the  oldest, 

192 


(S.   ANGUISSOLA.) 

Museum,  Naples. 


ART  IN  LOMBARDY 


fig.  326. the  entombment. 

(malosso.) 

Brera,  Milan. 

{Plwlo.  I.  I.  d'Arli  Grafiche.) 


Giulio  (1502-1572,  Fig.  329)  was 

the   best   painter ;    he   has   a   certain 

admirable    grandeur    and    vigour    of 

style,  although  he  was  at  the  mercy 

of  every  new  impression.     Beginning 

as  a  disciple  of  Romanino,  we  find 

him  following  in  succession  Parmigi- 

anino,  Lorenzo  Lotto,  Titian,  Dosso 

Dossi,  and  in  the  end  even  a  painter 

so   opposed   in   artistic  ideals   to   the 

others  as  Giulio  Romano.     His  pic- 
tures   are    very    numerous,    and    in 

many    of    his    works — not    the    last 

ones — the    strength    of    the    Venetian 

colouring,     the    energetic    expression 

of  individuality,  and  the  grandeur  of 

the  whole,  are  truly  praiseworthy. 

His    brother    Antonio,    who    flour- 
ished   in    the    second    half    of    the 

sixteenth  century,  was  of  less  note  as  a  painter,  but  was  a  more 

universal  genius.  He  was,  indeed, 
distinguished  as  an  architect,  as  a 
sculptor,  as  a  geographer,  and  as  a 
historian.  As  a  painter  he  followed 
his  father,  he  followed  Giulio,  he 
followed  Correggio,  he  followed 
Dosso ;  of  the  last  he  was  little 
better  than  a  copyist.  The  third 
brother,  Vincenzo  (d.  1591),  was 
always  more  modest  and  restrained  ; 
he  refrained  from  ambitious  subjects 
of  sacred  or  profane  history,  and 
devoted  himself  to  portraits  and  to 
pictures  of  fruit  and  flowers,  and  in 
these  he  showed  that  he  had  studied 
the  works  of  Floris  van  Dyck,  and 
of  Pieter  Aertszen,  known  as  Lange 
Pier. 

Bernardino  Campi  (1522-1590) 
was  the  son  of  the  goldsmith  Pietro  ; 

he  studied  under  Giulio  and  thence  passed  to  the  studio  of  Ipjpolito 

Costa  in  Mantua,  where  he  saw  and  imitated  the  works  of  Giulio 

193  o 


FIG.   327. VIRGIN   WITH   SS.   COSMO   AND 

DAMIAN.      (g.  F.  BEMBO.) 

Church  of  S.  Pietro,  Cremona. 
(Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


328. — HOLY    CONVERSATION. 

ciNO.)    Accademia,  Venice. 


(BOCCACCIO    BOCCAC- 

{Pholo.  Alinari.) 


Romano.     He  certainly  gave  proof  of  good  taste  when  he  shook 

himself  free  from  this  influence,  and  turned  both  eye  and  mind  to 

the  study  of  the  works 
of  Correggio ;  but  if 
he  succeeded  in  bor- 
rowing some  formal 
elements  from  this 
master,  he  entirely 
failed  to  penetrate  his 
spirit.  A  man  of  pro- 
digious activity,  he 
worked  at  an  endless 
number  of  places  in 
Lombardy  and  in 
Emiha, 

At  this  period,  too, 

Cremona  gave  birth  to  Giuseppe  Dattaro,  known  as  Pizzafuoco 

(1540-1619),  an  architect  of  great  merit  (Fig.  330),  and  at  later 

dates  to  Panfilo  and  to  his  son  Carlo  Francesco,  of  whom  we  have 

spoken  on  p.  1 8 1 ;  to  Giovanni  Angelo 

Borroni     (1684-1772),     to     his     son 

Vincenzo,  and  to  Francesco  Boccac- 

cino(d.  1750). 

The  exhibition  of  sacred  art  held  at 

Cremona  in   1899  resulted  in  making 

the  artists  of  that  city   better  known 

to    us.     These    men    had    been    less 

studied  of  late  than  in  the  past,  when 

Zaist   (1774),   Grasselh   (1827),    and 

Sacchi  (1872),  were  actively  occupied 

in    their    researches.     The    exhibition 

led  to  fresh  discussion  and  fresh  investi- 
gation ;    but  before  long  all  was  again 

abandoned,  for  Cremona  is  generally 

neglected  both  by  the  studious  and  by 

the  public,  lying  apart  as  it  does  on 

the  banks  of  the  Po,  remote  from  the 

main    lines    of    communication.     And 

yet   what   city   can   boast   of   a   more 

beautiful   cathedral   (Fig.   331),   a   building  in  which   the  vigour 

of  the  Romanesque  is  tempered  by  the  graces  of  the  Renaissance  ? 
However,  after  Milan,  the  most  important  city  from  the  artistic 

194 


FIG.  320. — JESUS  AMONG  THE 

DOCTORS  OF  THE  LAW. 

(g.  CAMPI.) 

S.  Margherita,  Cremona. 

{Photo.  Alinari.') 


ART  IN  LOMBARDY 


point  of  view  is,  of  course,  Pavia.  Like  Oxford  in  relation  to 
London,  and  Padua  in  relation  to  Venice,  the  Lombard  city 
flourished  as  an  asylum  of  peace  for  those  devoted  to  study.  The 
fervour  of  political  and  commercial  life,  the  animation  of  the 
populace,  and  the  tyranny  of  luxury,  made  it  desirable  in  Milan,  as 
in  London  and  Venice,  to  fix  the  seat  of  learning  aw^ay  from  the 
tumultuous  and  self-indulgent  centre. 

Already,  under  the  name  of  Ticinum,  a  place  of  some  importance 
in  ancient  times,  the  city  in  572  became  the  capital  of  the  Longo- 
bard  Kingdom,  and  it  v^as  during  their  rule  that  it  was  first  known  as 
Pavia.  It  was  in  the  famous  church 
of  S.  Michele  Maggiore  (Fig.  332), 
rebuilt  in  the  eleventh  century,  that 
the  crown  was  placed  on  the  heads 
of  Berengarius  I.,  Marquis  of 
Friuli,  of  Berengarius  II.,  of 
Arduino  of  Ivrea,  of  Frederick 
Barbarossa,  and  of  other  German 
Kings,  to  whom  Pavia  remained 
faithful  up  to  1 360 ;  in  that  year 
the  Emperor  Charles  IV.  ceded 
it  to  Galeazzo  II.,  Visconti.  Gale- 
azzo  set  about  at  once  to  erect  the 
Castle  (Fig.333),  a  building  notable 
at  the  present  day  (although  robbed 
of  many  a  work  of  art)  for  its 
vast  size,  and  for  the  beautiful 
court  that  shows  Venetian  in- 
fluence ;  at  the  back  he  enclosed 
an  immense  park  of  some  eleven 

miles  in  circuit,  destined  for  the  rearing  and  the  pursuit  of  every  kind 
of  game.  In  one  part  of  it  Gian  Galeazzo  Visconti  began  the 
erection  of  the  Certosa  (Figs.  334-340),  in  fulfilment  of  a  vow  made 
by  his  wife  Caterina,  and  in  satisfaction  of  his  own  desire  "  to  have 
a  palace  wherein  to  dwell,  a  garden  wherein  to  disport  himself,  and 
a  chapel  wherein  to  worship." 

The  artist  to  whom  was  assigned  the  principal  share  in  designing 
the  Certosa,  and,  at  the  beginning,  in  superintending  the  works,  was 
Bernardo  da  Venezia,  an  engineer  and  woodcarver.  The  work, 
as  a  whole,  proceeded  slowly  enough.  To  a  few  short  periods, 
when  it  was  actively  prosecuted,  there  succeeded  only  too  many 
others    of    neglect — nay,     indeed,     long    intervals    of     complete 

195  o  2 


FIG.     330. — GRAND    STAIRCASE    IN    THE 
PALAZZO  DATI,  CREMONA. 

(dattaro.)     {Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


FIG.  331. CATHEDRAL  AND  TOWER, 

CREMONA. 


abandonment — and  this  led  to 
changes,  not  only  in  details  and  in 
the  decorative  parts,  but  also  in  the 
constructive  organism. 

With  Francesco  Sforza  the  w^ork 
received  a  nevv^  and  vigorous  impulse, 
more  especially  in  the  building  of  the 
church,  for  the  monks  themselves  had 
before  this  urged  forward  the  com- 
pletion of  their  cells. 

In  1 453  Guiniforte  Solari  (d.  1 48 1 ) 
w^as  appointed  architect  to  the 
Certosa,  and  it  v^as  under  his  direc- 
tion and  after  his  design  that  the 
facade  of  the  church  was  begun 
(Figs.  334,  335  and  337).  that  the 
nave  was  finished,  and  that  the  two 
cloisters  (Figs.  336  and  338),  with 
their  magnificent  decoration  of  terra-cotta,  by  Rinaldo  de  Stauris  of 
Cremona  (1464),  were  completed. 

The  participation  of  Cristoforo   Mantegazza  in   the  works  of 

the  Certosa  preceded  that  of 
Amadeo,  though  only  by  a  brief 
space  of  time.  In  1463  he  fur- 
nished square  slabs  of  stone  for  the 
walls  of  the  aisles ;  the  year  after 
we  find  him  at  work  with  De 
Stauris  in  the  lesser  cloister  (Fig. 
336) ;  later,  together  with  his 
brother  Antonio,  he  carved  the 
fountain  in  the  Maddalena  chapel ; 
finally,  in  1473,  still  with  his 
brother's  assistance,  he  undertook 
the  great  task  of  erecting  the 
facade  of  the  church  (Figs.  334, 
335  and  337). 

The  two  Mantegazza  had  begun 
their  artistic  life  as  goldsmiths. 
That  such  more  or  less  they  re- 
mained to  the  end  we  may  see  in  the 
minuteness  of  their  work  and  in  their  tendency  to  accumulate  an 
infinity  of  small  details,  instead  of  seeking  the  repose  of  large  lines 

196 


FIG.    332. — CHURCH    OF    S.    MICHELE, 

PAVIA.     (Photo.  Alinari.) 


ART  IN  LOMBARDY 


-CASTLE  OF  THE  VISCONTI,  PAVIA. 

(Plwlo.  Alinari.) 


and  simple  forms.  Their  lean  and  often  contorted  figures  are 
wrapped  in  garments  broken  up  into  a  thousand  planes,  into  a 
thousand  angular  folds ; 
the  general  effect  recalls 
a  process  of  crystallisation 
and  reveals  a  ^-oreign  in- 
fluence. Their  scheme  of 
decoration  is  developed  in 
a  succession  of  branches, 
of  flow^ers,  of  fruits,  of 
puttini,  of  medallions,  of 
shields  or  coats  of  arms, 
of  fantastic  animals,  of  re- 
liefs full  of  figures  emerg- 
ing from  a  background  of 
landscape  or  of  buildings ; 
in  short,  of  a  thousand  gay  and  sumptuous  details,  w^hich  avs^aken 
a  feeling  of  wonder  rather  than  one  of  spontaneous  delight,  and  in  any 
case  destroy  the  simplicity  of  Solari's  architectural  conception. 

Giovanni  Antonio  Amadeo,  a  native  of  Pavia  (1447-1522), 
worked  at  the  Certosa  as  early  as  1 466,  when  he  was  no  more  than 
nineteen  years  old.  It  is  here,  indeed,  that  he  has  left  us  the  most 
notable  examples  of  his  art  as  architect  and  sculptor,  though  his 
work  may  also  be  admired  in  the  Colleoni  chapel  and  tomb  at 
Bergamo  (Fig.  209) ;    at  Milan,  in  various  parts  of  the  Cathedral 

(the  central  tower,  for  ex- 
ample) and  in  the  Ospe- 
dale  Maggiore,  where  in 
1495  he  was  director  of 
the  works ;  in  the  In- 
coronata  Church  at  Lodi, 
where  the  open  gallery 
round  the  cupola  is  prob- 
ably due  to  him  (Fig.234)  ; 
in  the  Borromeo  tombs  at 
Isola  Bella  (Fig.  341);  in 
the  shrine  of  San  Lan- 
franco,  and  in  the  Cathe- 
dral of  Pavia ;  in  the 
pulpits  of  the  Cathedral 
of  Cremona,  and  in  various  other  places.  As  an  architect,  in  Lom- 
bardy,  he  preceded  Bramante  in  the  practical  application  of  the 

197 


FIG-  334- — FACADE  OF  THE  CERTOSA,  PAVIA. 

{Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


-DOOR  OF  THE  CERTOSA, 
PAVIA. 


canons  of  the  Renaissance ;  as  a 
sculptor  he  is  a  descendant  of  the 
Campionesi,  and  in  his  early  works 
there  are  lingering  traces  of  the 
Gothic  tradition ;  later,  contem- 
plating the  style  of  the  Mantegazza 
and  that  of  Antonio  Riccio  (see  p. 
26  and  Fig.  40),  who  in  1465 
was  at  work  upon  the  columns  and 
the  capitals  of  the  larger  cloister,  he 
underwent  a  change ;  nor  did  he 
fail  to  approve  the  simplicity  of 
Tuscan  architecture,  the  examples 
of  which  style  at  Castiglione  d  'Olona, 
and  in  the  chapel  of  St.  Peter  Mar- 
tyr in  S.  Eustorgio,  found  favour 
with  the  sterner  and  calmer  spirits 
of  the  day,  Amadeo,  however,  ob- 
He  detached  himself  from  the  past, 
servitude.       Thus    it    was    that, 


served  but  did  not  imitate 

but    did    not   fall    into    a    fresh 

observing,   pondering  and  working,   he  found  his  true  self,   and 

developed  a  personality  which,  if    ^ ^ 

not  remarkable  for  measure  and 
caution,  was,  of  a  certainty,  full  of 
vigour  and  in  complete  harmony 
with  the  Lombard  environment.  To 
his  merits  as  an  artist  he  added 
those  of  a  man  :  simple,  honest  and 
patient,  he  found  his  only  delight  in 
indefatigable  toil, and  his  love  for  his 
art  raised  him  so  high  above  the 
petty  jealousies  and  spites  of  his 
fellows  that  he  brought  himself  to 
pardon  the  slayers  of  his  only  son, 
and  to  leave  a  large  proportion  of  his 
considerable  fortune  to  the  daughters 
of  the  artists  working  for  the  con- 
servators of  the  cathedral,  many  of 
whom  had  saddened  his  life  by  their 
jealousy  and  their  malicious  criticism 

At  the  Certosa  of  Pavia  Amadeo  had  already  carried  out  several 
pieces  of  work  (the  rich  door,  for  example,  that  leads  from  the  small 

198 


FIG.  336. — CHURCH  AND  SMALL  CLOISTER 
OF  THE  CERTOSA,   PAVIA. 

{Photo.  Alinari.) 


ART  IN  LOMBARDY 


I'IG.  337. FRAGMENT  OF  THE 

FACADE,  CERTOSA,  PAVIA. 


cloister  to  the  transept  of  the  church.  Fig.  339),  and  had  now 
found  occupation  in  the  sculpture  of  the  shrine  of  San  Lanfranco 
and  in  the  Colleoni  Chapel  at  Ber- 
gamo, when  he  learnt  that  the  sculp- 
ture of  the  fa9ade  had  been  allotted 
to  the  Mantegazza ;  he  at  once  took 
steps  to  obtain  for  himself  part  of  this 
work,  and  in  this  he  was  successful 
through  the  intervention  of  Galeazzo 
Maria  Sforza.  The  Mantegazza  and 
Amadeo  were  in  time  succeeded  by 
Benedetto  Briosco  and  by  the  latter's 
son  and  pupils. 

Works  such  as  these  and  many 
others,  notwithstanding  dilapidations 
and  losses  of  every  kind,  make  this 
building  still  one  of  the  most  remark- 
able in  Italy  and  in  the  world.  In 
the  Certosa,  during  a  succession  of 
ages,  as  also  in  the  cathedral  at  Milan, 
a  whole  army  of  artists  obtained  their 

training,  and  many  of  these  men  were  employed  in  both  buildings. 
There  we  may  see,  surmounting  the  mausoleum  of  Gian  Galeazzo 
Visconti,  the  shrine  sculptured  by  Cristoforo  Romano  between  the 

years  1492  and  1497  (Fig. 
342),  and  the  Madonna 
and  Child  of  Benedetto 
Briosco.  There,  too,  lying 
on  their  tombs,  are  the  stat- 
ues of  Lodovico  il  Moro 
and  of  Beatrice  d'Este, 
formerly  in  the  church  of 
the  Grazie  at  Milan,  the 
work  of  Cristoforo  Solari, 
known  as  II  Gobbo  (Fig. 
340).  In  addition  to  this 
the  Certosa  contains  pic- 
tures by  Bernardino  de 
Rossi  of  Pavia,  by  Bergog- 
none,  by  Perugino,  by  Ja- 
copo  de  Motis,  by  Andrea  Solario,  by  Bartolomeo  Montagna,  by 
Luini,  and,  coming  gradually  to  a  later  time,  by  the  Genoese  painter 

199 


HG.  338. — GKEAT  CLOISTER,  CERTOSA,  PAVIA. 

(Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


FIG.   339. — DOOR  OF  THE  SMALL 
CLOISTER,  CERTOSA,  PAVIA. 

{Photo.  Alinari.) 


Ottavio  Semini,  by  the  Procaccini, 
by  Cerano,  by  Daniele  Crespi,  Mo- 
razzone,  Francesco  del  Cairo,  and 
Guercino,  as  well  as  examples  of 
sculpture  by  Annibale  Fontana  (the 
obelisk,  for  example,  and  the  bronze 
candelabrum),  by  Annibale  Busca, 
by  Dionigi  Bussola,  Carlo  Simon- 
etta,  Giuseppe  Rusnati,  and  many 
others. 

But  the  most  important  sculptures 
in  the  Certosa  are  those  executed 
between  the  middle  of  the  fifteenth 
and  the  middle  of  the  sixteenth 
century.  No  other  art — unless  it  be 
the  Umbro-Tuscan  painting  of  the 
Renaissance  in  the  Sistine  Chapel 
— has  left  a  monument  more  su- 
preme and  more  complete.  In  this 
building  the  Lombard  sculpture  of  the  time  is  displayed  in  its  entirety, 
with  all  its  merits  and  all  its  faults.  And  so  it  happens  that  the 
visitor,  dazzled  by  the  splendour  of  the  Certosa,  overlooks  the  fact 
that  a  few  miles  off  on  one  side  rises  the  superb  Cistercian  church 

of  Chiaravalle  (Fig.  344),  founded  by 
St.  Bernard,  and  on  the  other,  closer 
at  hand,  the  city  of  Pavia,  splendid 
with  such  monuments  as  the  already 
mentioned  castle,  and  the  church  of 
San  Michele  ;  as  the  cathedral,  begun 
in  1487  by  Cristoforo  Rocchi  and 
completed  with  the  aid  of  Amadeo 
and  of  Bramante  (Fig.  343)  ;  as  S. 
Pietro  in  Ciel  d'Oro,  as  S.  Teodoro 
with  Bramantino's  frescoes,  S.  Fran- 
cesco, and  S.  Maria  di  Canepanova. 


BIBUOGRAPHY  OF  CHAPTER  XV 


L-anzi,    Storia    pittorica ;      Berenson,     The    North 
FIG.    340.— MONUMENT   TO    Lopovico     /,„/,.^„      Painters;       Lermolieff      (Morelli),     Kunsf- 

kritische  Studien:  Venturi,  La  Galleria  Crespi; 
G.  Carotti,  Di  alcane  sculpture  ornamentali  rtella 
cattedrale     di   Como    in    Arte    Jtaliana   decorativa   e 


SFORZA  AND  BEATRICE  D  ESTE, 
CERTOSA,   PAVIA.       (C.   SOLARI.) 

{Photo.  Alinari.} 


200 


ART  IN  LOMBARDY 


inJuslriale,  xi,  Milan,  1 902,  n.  10  ;  G.  B.  Zaist,  Nolizie  dei  pittori,  scullori  ed  aichitetti  cremonesl, 

Cremona,    1774;    P.  Aglio,  Le  pitture  e  sculture   delta  cittd   di   Cremona,   Cremona,    1794; 

M.   Caffi,  /  monumenli   cremonesi   dalla  decadenza 

Tomana   alia  fine   del  secolo,    xvii,    Milan,    1882; 

G.     Grasselli,     Abecedario    hiografico     dei     pittori, 

scullori  ed    architetti  cremonesi,   Milan,    1 827  ;    F. 

Sacchi,     Notizie     pittoriche     cremonesi,     Cremona, 

1 872 ;     F.    Malaguzzi- Valeri,     Catatogo    della    R. 

Pinacoteca  di  Brera;  Vidoni,  La  pittura  cremonese, 

Cremona,    1 874 ;    F.    Malaguzzi-Valeri,   Documenti 

sull'Arie  cremonese  in  Rassegna  d'Arte,   1902;    F. 

Malsiguzzi  -  Valeri,    L'archileltura    a    Cremona    nel 

Rinascimento  in  Emporium,   1901  ;    E.  Schweitzer, 

La    scuola    pittorica  cremonese    in    L'Arte,    1900; 

L.   Courajod,   Documents  sur   I'hisloire   des  arts  et 

des  artistes  a  Cremone  au  XV^  siecle,  Paris,  1885  ; 

E.   Gussalli,   L'opera   del Battagio    nella    chiesa    di 

Santa   Maria    di    Crema   in    Rassegna    d'Arte,   v, 

1905;    F.    Malaguzzi-Valeri,   Pittori    lombardi    del 

Quattrocento;    C.    Dell'Acqua,    Bernardino    Gatti 

detlo    il   Solaro    in    Bollettino   Storico    Pavese,    ii, 

1894;    Foumier   SarlovAze,    Van   Dyck  et  Anguis- 

sola  in   Revue   de   I' Art  ancien  et  moderne,   1899, 

316;    A.    Ronchini,    //  Malosso    in   Parma  in    the 

Atti   e    memorie   della   Deputaz.    di    Storia    Patria 

dell'Emilia,  vi,  1881  ;  C.  Ceruti,  G.  B.   Trotti  delto 

il  Malosso,  Parma,   1902;    M.  Cafii,  /  Boccaccini 

in    Arte    e    Storia,   x  and    xi ;    G.    Frizzoni,   Boc- 
caccio Boccaccino  in  Arte  e  Storia,  ix,   1890;   G. 

Fogolari,   Artisti   lombardi    del   primo    cinquecento 

che  operarono  nel  Veneto.     Lo  Pseudo  Boccaccino 

in    Rassegna    d'Arte,    1909;    G.    Frizzoni,    Nicola 

Appiano  ossia   lo  Pseudo  Boccaccino  in  Rassegna 

d'Arte,     1909;    G.    Natali,    Saggio   abecedario   ar- 

tistico  pavese,   Pavia,     1 908 ;     G.    Natali,    Le    piU 

antiche    pitture    di    Pavia  in   Bollettino    della    Societd    pavese    di   Storia   Patria,    1 907 ;    C. 

Zuradelli,  Le  torn  di  Pavia,  Pavia,    1 888 ;  R.  Majocchi,  /  migliori  dipinii  di  Pavia,  Pavia, 

1903  ;    R._  Majocchi,    Le    chiese    di    Pavia, 
Pavia, 
nuovo 

Pavia,  1 905 ;  A.  Cavagna  Sangiuliani,  Pacta. 
I  nostri  monumenti,  Pavia,  1 903 ;  A.  Cav- 
agna Sangiuliani,  Elenco  dei  monumenti 
della  provincia  di  Pavia  pei  circondari  di 
Voghera,  Bobbio'  e  Mortara,  Pavia,  1 907  ; 
M.  Caffi,  //  castello  di  Pavia,  Milan,    1876; 

C.  Dell'Acqua,  Deliinsigne  R.  Basilica  di 
S.  Michele  Maggiore  in  Pavia,  Pavia,  1875; 
A.  Cavagna  Sangiuliani,  La  chiesa  di  S. 
A  gala  in  Monte  a  Pavia,  Pavia,  1907;  A. 
Cavagna  Sangiuliani,  L  'affresco  nella  chiesa 
di  S.  Agata  in  Monte  a  Pavia,  Pavia,  1907  ; 
A.  Cavagna  Sangiuliani,  //  restauro  della 
basilica  di  S.  Teodoro  a  Pavia,  Pavia,  n.  d. ; 

D.  Sant'Ambrogio,  Un  tabernacolo  del  1 525 
di  artefice  pavese  poco  nolo  in  Rivista  di 
Scienze  Sociali,  Pavia,  1 906 ;  G.  Dell'Acqua, 
La  basilica  di  S.  Salvatore  presso  Pavia, 
Pavia,  1900;  R.  Majocchi  and  A.  Moiraghi, 
Cli  affreschi  di  Cesare  Nebbia  e  di  Frede- 
rico  Zuccari  nel  collegia  Borromeo  di  Pavia, 
Pavia,  1908;  L.  Beltrami,  La  Certosa  di 
Pavia,  Milan,  1895;  L.  Beltrami,  Storia 
documentata  della  Certosa  di  Pavia,  Milan, 
1896;  G.  Meyer,  Die  Certosa  bei  Pavia, 
Berlin,  1900;  G.  M.,  La  Certosa  di  Pavia, 
Milan,    1900;    C.   von    Fabriczy,    Die   reiche 

Marmorthtir  im  Lavabo  der  Certosa  Von  Pavia  in  Repertorium  fiir  Kunstwissenschaft,  1900, 
342  ;  J.  Kohte,  Die  Certosa  von  Pavia  in  Blatter  f.  Architektur  und  Kunsthandwerk,  1899, 
12;    D.  Sant'Ambrogio,   La  lastra  tombale  del  Folberti    nella  Certosa  di  Pavia  in  Arte  e 

201 


FIG.    341. MONUMENT  TO   GIOVANNI 

BORROMEO.       (AMADEO.) 

Isola  Bella. 


1905;   A.    Cavagna    Sangiuliani,    Pel 
elenco    degli    edifici    monumentali    di 


FIG.  342. — TOMB  OF  GIAN  GALEAZZO. 

Certosa,  Pavia. 


ART  IN  NORTHERN  ITALY 


Sloria,  1900.  121;  D.  Sant*  Am- 
brogio,  L  'altar  maggiore  nella  Cerlosa 
di  Pacta  e  lo  sculiore  Ambrogio 
Volpi  di  Casale  in  the  Osservatore 
Caltolico.  4ih  April.  1908;  D.  Sam" 
Ambrogio.  //  pallio,  il  tabemacolo 
e  I'altar  maggiore  delta  Cerlosa  di 
Pavia,  Milan.  1898;  D.  Sant" Am- 
brogio, /  due  triortfi  marmorei  di 
fiance  all'altar  maggiore  nella  Cer- 
losa di  Pavia,  Milan.  1897;  D. 
Sant  Ambrogio,  L'anlica  cella  o 
camera  del  Priore  rtella  Cerlosa  di 
Paum,  Milan,  1898;  D.  Sant' Am- 
brogio. L'ullima  opera  d'arle  nella 
Cerlosa  di  Pavia  in  the  Polilecnico, 
Milan.  1906;  R.  Majocchi,  Gov. 
Ant.  Amadeo  in  the  Bollettino  della 
Societd  Pavese  di  Sloria  Patria, 
1903  ;  F.  Malaguzzi-Valeri.  Giov. 
Anl.^  Amadeo,  Bergamo,  1904;  D. 
Sant*  Ambrogio.  Nella  Cerlosa  di 
Pavia ;  Affreschi  e  dipinii  orna- 
menlali  di  Bernardino   de  Rossi  in 

the  Osseroaiore  Caltolico  of  the  16th  October.  1909;  A.  Melani.  //  portone  nel  vestibolo  delta 

Cerlosa  di  Pavia  in  Arte  Italiana  decoraliva  e  industriale,  ii,  fasc.  i. 


FIG.    343. INTERIOR   OF   THE   CATHEDRAL,   PAVIA. 

{Photo.  Alinari.) 


FIG.  344. — ABBEY  CHURCH,  CHIARAVALLE. 

(Photo.  Alinari.) 


202 


FIG.    345. CASTLE  OF  MONTALTO  DORA.      (Pholo.    AHnari.) 


CHAPTER    XVI 

ART   IN    PIEDMONT   UP   TO   THE   END    OF   THE 
RENAISSANCE 

Roman  Remains  in  Piedmont. — Architectural  Activitv  in  the  Eleventh  Centura — Cathedrals  of 
Casale,  lorea,  Susa  and  Acqui. — Abbess. — Ci'uiV  Architecture. — Painters  in  Piedmont  in 
the  Fifteenth  Centurs- — Macrino  di  Alba. — Sodoma. — Gaudenzio  Ferrari. 

In'  the  history  of  art,  Piedmont  and  Liguria  do  not  certainly  figure 
as  prominently  as  the  other  regions  of  Upper  and  Central  Italy. 
But  while  acknowledging  this,  we  must  not  suppose  that  art  is  not 
represented  in  these  provinces.  We  may  more  jusdy  regret  that 
the  subject  has  not  been  studied  there  as  it  deserves,  for  it  is  this 
neglect  more  than  anything  else  which  has  caused  Liguria  and 
Piedmont  to  be  ignored  as  artistic  centres. 

We  shall  see  later  on  that  Genoa  had  its  period  of  pictorial 
activity.  For  the  present  let  us  confine  ourselves  to  Piedmont, 
dividing  it  for  the  purpose  of  our  rapid  survey  into  three  large 
fields :  Turin  and  southwest  Piedmont,  the  Monferrato  district, 
and  finally  the  region  that  extends  from  Vercelli  to  Novara. 

Meanwhile,  let  us  begin  by  noting  that  the  Piedmontese  provinces 
are  excessively  rich  in  Roman  remains,  some  of  them  indeed 
of  real  grandeur :  for  example,  the  ruins  of  the  aqueduct  of  the 
Aquce  Statiellce  (Acqui),  the  bridge  over  the  Lys  at  Pont  Saint 
Martin  and  the  remnants  of  the  ancient  cities  of  Augusta 
Bagiennorum  (Bene  Vagienna),  Libarna  (near  Serravalle  Scrivia), 
Pollentium  (Pollenzo),  Dertona  (Tortona),  and  Industria  (Monteu 
da   Po).     In  the  province  of  Turin,   which  is  especially  rich  in 

203 


ART  IN  NORTHERN  ITALY 


FIG.   346.- 


-RUINS   OF   THE    ROMAN   THEATRE,    AOSTA. 

{Photo.  Alinari.) 


ancient  buildings,  the  four  principal  nuclei  of  Roman  remains  are 
to  be  found  at  Aosta  (the  walls  with  towers  and  gates,  the  amphi- 
theatre, the  theatre — Fig. 
346 — the  beautiful  arch 
of  Augustus — Fig.  347 — 
with  the  ten  Corinthian 
semi-columns,  the  granary, 
the  bridge  over  the  former 
bed  of  the  Buthier,  etc.)  ; 
at  Ivrea  (the  walls  in  the 
Perrone  garden  and  the 
theatre)  ;  at  Susa  (the  aque- 
duct, commonly  known  as 
the  Baths  of  Gratian,  the 
Arch  of  Augustus,  the 
walls  and  the  gate)  ;  and 
finally  at  Turin,  which 
preserves  the  magnificent  Porta  Palatina  (Fig.  349),  the  Porta 
Decumana  incorporated  with  the  Palazzo  Madama,  the  ruins  of  the 
theatre  and  of  the  walls,  to  say  nothing  of  the  fact  that  the  regular 
planning  of  the  streets,  which  gives  the  city  a  more  modern  look 
than  any  other  in  Italy,  is  in  part  at  least  a  survival  of  the  original 
Roman  alignment. 

Following  upon  such  abundant  wealth  of  Roman  buildings,  the 

poverty,  we  may  say  even 
the  total  absence,  of  re- 
mains dating  from  the  By- 
zantine period  and  from  the 
Romanesque  up  to  the  year 
1 000,  appears  all  the  more 
singular.  It  is  evident  that 
during  the  course  of  about 
six  centuries  there  was  not 
much  constructive  fervour 
to  be  found  in  this  region  ; 
and  the  few  buildings  that 
were  erected  during  this 
period,  when  not  ruined 
or  totally  destroyed,  have 
been  subjected  to  radical  al- 
terations, as  in  the  case  of  the  church  of  Sant'  Orso  at  Aosta,  which 
was  indeed  rebuilt  in  the  fifth  century  and  restored  in  the  twelfth. 

204 


FIG.  347." 


-ARCH  OF  AUGUSTUS,  AOSTA. 

(Photo.  Alinari.) 


ART  IN  PIEDMONT 


FIG.   348. SAGRA  DI  S.  MICHELE. 

NEAR  TURIN.     {Photo.  AlttiarL) 


About  the  year  1000  a  total  change  comes  about.     The  desire  or 

the  necessity  for  the  erection  of  walls,  of  gates,  of  towers,  fortresses, 

castles,   and  churches,   and 

for  the  rebuilding  of  towns 

and  villages  which  hitherto 

had  been  of  wood,  spread 

at    length    over    Piedmont, 

and  it  was  in  the  last  years 

of    the    tenth    century    that 

the      oldest      towers      and 

castles    appeared ;     during 

the  course  of  at  least  four 

centuries  these  grew  in  size 

and  in  number,  above  all, 

in    the    upper    districts    of 

Monferrato,   in    the    Cana- 

vese  district  (Ivrea,  Pavone, 

Montalto  Dora,  Fig.  345), 

in  the  valley  of  Aosta  (Sarriod-la-tour,  Graines,  Fenis,  Verres — 

Fig.  350 — Issogne),  and  in  the  district  of  Cuneo  (Verzuolo).     And 

in  addition  to  the  small   ricetti  (fortified  market  towns,    notable 

examples  of  which  still  exist  at 
Candelo,  Oglianico,  Ozegna,  and 
Salassa),  and  to  the  fortified  houses 
of  Almese,  of  Chianoc,  and  of  San 
Giorio,  we  have  the  girdle  of  walls 
at  Cirie  and  at  Avigliana. 

The  restoration  and  the  vast  in- 
crease in  number  of  sacred  buildings 
also  had  their  origin  in  the  year 
1000.  Confining  ourselves  to  the 
more  notable  buildings,  we  may 
instance  the  Sagra  di  S.  Michele 
(to  the  west  of  Turin,  Fig.  348), 
rising  boldly  from  the  summit  of  a 
rock,  the  cathedral  of  Casale,  and 
that  of  Ivrea,  with  its  cloister, 
buildings  begun  in  the  tenth  and 
completed  in  the  eleventh  and 
twelfth  centuries ;    the  cathedral  of 

Susa  (Fig.  351),  with  its  pediment  and  its  campanile  adorned  at  a 

later  date  with  graceful  pinnacles ;   following  on  these  we  have  the 

205 


FIG.  349. — PORTA  PALATINA,  TURIN. 

(Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


FIG.  3SO. — STAIRS  OF  THE  CASTLE, 

VERRES.     {Photo.  Alinari.) 


cathedral  of  Acqui,  with  its  double 
aisles,  the  superb  abbey  of  Vezzo- 
lano  (Fie.  352),  so  rich  in  sculpture, 
its  facade  decorated  with  a  series 
of  blind  recesses,  in  the  Tuscan 
style,  and  its  cloister,  remarkable 
for  the  curious  asymmetrical  ar- 
rangement of  its  sides ;  the  abbey 
of  S.  Antonio  di  Ranverso  at 
Buttigliera  Alta,  its  profile  pleas- 
antly enriched  by  a  series  of  pin- 
nacles and  its  triple  doorway  op- 
pressed by  the  enormous  pediments 
(Fig.  353) ;  the  abbey  of  S.  Fede 
at  Cavagnolo  Po  with  its  three 
aisles,  its  composite  piers  (Fig.  354) 
and  its  highly  decorated  doorway, 
all  typically  Romanesaue  in  style. 
To    the    thirteenth    century    belong    the    celebrated    abbey    of 

Staffarda  at  Revello,  near  Saluzzo,  so  complete  and  so  imposing  in 

effect,  S.  Secondo  di  Cortazzone,  and  other  churches.     In  these 

buildings  the  pointed  style  begins  to 

assert  itself,  a  style  of  which  there 

are    many    beautiful    examples    in 

Piedmont,   such   as   the   church  of 

Sant*  Andrea  at  Vercelli  (agreeing 

in  conception  with  the  architectural 

style  that  had  its  origin  in  the  He 

de  France),  which,  with  the  adja- 
cent hospital  forms  one  of  the  most 

charming    monumental    groups    in 

Piedmont     (Fig.  355);    S.  Maria 

della    Scala    at    Moncalieri ;     the 

cathedral    of    Alba    and    that    at 

Chieri,  where  the  tympanum  of  the 

doorway  invades  the  whole  facade 

(Fig.  357). 

Nor  is  the  civil  architecture  less 
interesting.     At      Asti,      Saluzzo, 
Bussoleno,    Carignano    and    Alba, 
we  find  groups  of  buildings,  in  the  transition  style  between  Gothic 
and  Renaissance,  at  times  gay  with  terracotta  decoration,  as  for 

206 


FIG.   351. — APSE  OF  THE  CATHEDRAL, 

SUSA.     {Photo.  Alinari.) 


ART  IN  PIEDMONT 


1 

1 

H:% 

_' 

1 

m 

i; 

M 

■y^^^^^H 

FIG.   352. ABBEY,  VEZZOLANO. 

(Photo.  Alinari.) 


examples  the  facade  of  the  cathedral 
of  Chivasso  (Fig.  356). 

Amid  such  a  variety  of  buildings, 
to  define  the  various  influences  under 
which  the  architecture  of  these  lands 
vv^as  developed,  to  point  out  the  in- 
digenous characters,  and  to  separate 
them  from  those  which  were  im- 
ported, in  a  word  to  classify  them, 
all  this  is  often  a  matter  of  no  little 
difficulty.  One  point  is  noteworthy 
— French  influences  are  in  many 
cases  very  apparent. 

The  intimate  connection  of  archi- 
tecture and  sculpture  has  resulted  in 
the  preservation  of  numerous  exam- 
ples of  the  latter  art  from  the  tenth 
century  onwards,  and  of  this  we 
have  a  splendid  example  in  the  mortuary  chapel  of  the  church  of 
S.  Giovanni  at  Saluzzo ;  but  very  little  painting  is  to  be  discovered 
up  to  the  end  of  the  fourteenth  century.  Examples  may  indeed  be 
found  in  the  mosaics  of  SS.  Vittore  e  Corona  at  Grazzano  (twelfth 
century) ;  in  a  few  frescoes  in  the  Annunciata  at  Tortona  and  in 
S.  Andrea  at  Vercelli  (thirteenth  century)  ;  others  in  a  chapel  of 
S.  Eldrado  in  the  Novalesa  district  (north  of  Susa),  in  the  churches 
of  the  old  cemeteries  of 
Avigliana  and  of  Buttig- 
liera  d'Asti,  and  in  the 
fourteenth  century  oratory 
of  S.  Martino,  near  Cirie 
(in  the  direction  of 
Mathi),  and  in  a  few  pic- 
tures. It  is,  however, 
noteworthy  that  between 
1314  and  1348  a  cer- 
tain Florentine,  Giorgio 
dell'Aquila,  was  working 
for  Amadeus  V.  of 
Savoy ;  he  also  painted 
at  Chambery  and  at  Pine- 
rolo,  and  is  the  reputed  author  of  certain  frescoes  recently 
discovered  at  Chillon  on  the  Lake  of  Geneva. 

207 


FIG.  353- — ABBEY  OF  S.  ANTONIO  DI  RANVERSO. 

Buttigliera  Alta.     {Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


no.  3S4. — ABBEY  OF  S.  FEDE,  CAVOGNOLO 

po.     {Photo.  AUnari.) 


The  scarcity  of  paintings  dating  from  the  Romanesque  period 
or  from  the  fourteenth  century  is  in  a  degree  compensated  for  by  the 

comparative  abundance  of  those  of 
the  fifteenth  century ;  but  for  want 
of  precise  indications,  it  is  a  hope- 
less task  to  assign  these  works  to 
one  rather  than  to  another  of  the 
many  artists  mentioned  in  contem- 
porary documents.  However,  there 
are  paintings  of  no  small  import- 
ance, dealing  with  subjects  of  state 
and  of  chivalry,  in  the  castles  of 
Fenis,  of  Issogne,  and  above  all 
in  that  of  Manta,  where,  in  an 
extensive  cycle  of  figure  subjects, 
the  influence  of  the  French  illumi- 
nators may  be  discovered,  another 
element  of  that  art  of  which  we 
spoke  when  treating  of  Giovannino 
de  Grassi. 

It  would,  for  example,  be  inter- 
esting to  identify  some  work  by  that  Gregorio  Bono  of  Venice, 
who  held  the  office  of  pictor  domeslicus  to  Amadeus  VIII.,  Count 
of  Savoy,  from  1413  to  at  least  1 440. 

The  history  of  painting  in  Piedmont  cannot  however  be  clearly 
traced  before  the  middle  of 
the  fifteenth  century,  and 
even  then  it  presents  itself 
as  a  disconnected  record  of 
painters  influenced  now  by 
Tuscan,  now  by  Lombard 
or  Flemish,  above  all,  by 
French  masters ;  it  is  a  rec- 
ord in  which  it  is  impossible 
to  distinguish  anything  in 
the  nature  of  a  definite 
school,  unless  it  be  that  of 
Vercelli  for  a  brief  interval, 
and  as  regards  certain  char- 
acteristics. 

Among  the  painters  bom  outside  the  limits  of  Monferrato  and  of 
the  Valsesia,  mention  must  be  made  of  Giovanni  Canavesio  of 

208 


-CHURCH    OF    S.    ANDREA,    VERCELLI. 

{Photo.  AUnari.) 


ART  IN  PIEDMONT 


Liguria    and    around    Nice 
century;     of    that   rich    and 


FIG.    356. — FA9ADE   OF   THE    CATHEDRAl, 

CHivAsso.     (Photo.  Alinari.) 


Pinerolo,    who    was    at    work    in 

about    the    middle    of    the    fifteenth 

hospitable  painter,  Amadeo  Albini 

of  Moncaheri,  of  whom  we  have 

records  between  1 460  and  1519; 

of  Giorgio  Tuncoto,  a  fresco  by 

whom,  with  the  date  1473,  is  pre- 
served in  his  native  place,  Caveller- 

maggiore ;    of  Giovanni   Perosino 

(Fig.  358),  who  was  working  at 

Alba    and    at    Mondovi    between 

1517  and  1  523  ;    and  of  his  con- 
temporary, Jacobino  Longo.     But 

Oddone  Pascale  of  Savigliano,  and, 

more    especially,    Defendente    de 

Ferrari  (at  work  1518-1  535),  rose 

to  a  higher  level  than  any  of  these. 

The  latter  artist  was  a  pupil  of  Gian 

Martino  Spanzotti,  and  he  did  not 

escape    the   influence   of    Macrino 

d'Alba  ;  he  produced  a  large  num- 
ber of  works  (more  than  eighty  are  knowm  to  us),  which  show  great 

suavity  of  sentiment,  beauty  in  the  forms,  refinement  in  the  technique, 

and  decorative  richness. 

A    group    of    painters    still    more    remarkable    sprang    up    in 

Monferrato  and  the  sur- 
rounding country.  From 
Asti,  again,  came  Gandol- 
fino  di  Roreto,  who  flour- 
ished between  1493  and 
1510.  Some  of  his  works 
are  to  be  found  in  his 
native  town,  in  Turin,  at 
Vercelli  and  at  Savigliano. 
On  the  other  hand  we 
do  not  know  the  birthplace 
of  Giovanni  "  da  Pie- 
monte."  We  find  his  sig- 
nature and  the  date  1456 
on  a  picture  at  Citta  di 
incorrect  in  the  drawing, 
the    staring 

P 


HO.    357. — CATHEDRAL,    CHIERI.     {Photo.    Alinari.) 

Castello  (Fig.   362) ;    it  is  somewhat 
and    is    remarkable    for    the    singular    treatment    of 

209 


ART  IN  NORTHERN  ITALY 


FIG.  358. — S.   JOHN  THE 
EVANGELIST.       (PEROSINO.) 

Gallery,  Turin. 


eyes,  and  for  the  unmistakable  evidence 
of  the  influence  of  Pier  della  Francesca. 

A  certain  Pietro  Spanzotti,  a  native  of 
Varese,  estabhshed  himself  at  Casale  in 
1470.  He  had  two  sons:  Francesco, 
w^ho  died  about  I  530,  and  Gian  Martino, 
who  had  aheady  taken  to  painting  in 
1 48 1 ,  and  who  died  after  1  524.  Fran- 
cesco gave  his  daughter  in  marriage  to 
Pietro  Granmorseo  (at  work  1526-1533, 
Fig.  364),  a  timid  and  incorrect,  but 
graceful  painter.  Gian  Martino  (Fig.  363) 
was  the  master  of  Defendente  de  Ferrari, 
of  Girolamo  Giovenone,  and,  at  VercelH, 
of  Sodoma.  To  him,  in  addition  to  a  few 
pictures,  is  now  assigned  a  vast  series  of 
frescoes  in  the  ex-convent  of  S.  Bernardino,  near  Ivrea ;  certain 
defects  in  the  drawing  and  in  the  execution  of  these  frescoes  are 
fully  atoned  for  by  the  exceptional  beauty  of  the  composition  and 
of  the  sentiment.  In  this  they  are  far  superior  to  the  work  of 
Ottaviano  Cane,  who  was  born  at  Trino  about  1498,  and  who 
died  at  a  great  age  some  time  after  1570;   he  proclaimed  himself 

an  imitator  naturae,  but  this  did  not 
prevent  him  from  being  held  in  the 
bonds  of  tradition  (Fig.  360).  But 
the  most  famous  artist  of  the  Mon- 
ferrato  district  is  Macrino  de  Alladio, 
known  as  Macrino  di  Alba  (1470?- 
1 528),  a  man  who  finds  his  place 
rather  in  the  Umbro-Tuscan  school 
which  was  active  in  Rome  towards 
the  end  of  the  fifteenth  century,  than 
in  that  of  his  native  land  (Fig. 
365).  The  close  examination  of  his 
paintings,  more  especially  of  the  early 
ones  (later  on  he  did  not  escape  a 
certain  Lombard  influence),  reveals 
abundant  formal  affinities  with  the 
works  of  Pintoricchio,  of  Perugino, 
of  Signorelli  and  even  of  Ghir- 
landaio,  so  that  we  have  ground  for 
believing  that  he  received  his  artistic 
210 


FIG.  359. — ANNUNCIATION. 
(g.  MAZONE.) 

S.  Maria  di  Castello,  Genoa. 

(Photo.  Alinari.) 


ART  IN  PIEDMONT 


TIG.  360. — FRAGMENT  OF  THE 

MADONNA  DI  FONTANETO. 

(OTTAVIANO  CANE.) 

Gallery,  Turin.     {Photo.  Studio 
di  riprodmioni  arlisliche.) 


education  in  Rome,  where  all  these 
masters  have  left  important  examples 
of  their  splendid  talents,  especially  in 
the  Vatican. 

* 
*       * 

The  Veronese  painter  Giovanni 
Francesco  Caroto  (see  pp.  105  and 
1  1  5)  was  at  work  in  the  Monferrato 
district  for  about  five  years  (1514- 
1518),  having  been  summoned  thither 
by  the  Marquis  Guglielmo,  but  we 
cannot  discover  that  his  art  exercised 
any  influence  upon  that  of  the  native 
painters.  Among  the  architects  we 
must  note  Matteo  Sanmicheli  of  Por- 
lezza  (1480?-!  530),  Bartolomeo  Baronino  of  Casale  (1510- 
1  554),  and  Ambrogio  Volpi,  known  as  Volpino. 

And  now  we  come  to  No  vara,  to  Vercelli,  and  to  the  adjacent 
districts,  a  land  that  produced  numberless  painters,  among  them 
two  men  of  real  distinction : 
it  was  here  that  Gaudenzio 
Ferrari  and  Sodoma  were 
born  and  received  their  first 
training,  although  they  ulti- 
mately took  their  places  as 
members  of  the  Lombard 
school 

We  may  indeed  trace  back 
the  artistic  life  of  Vercelli  to 
a  very  early  period.  The 
earliest  records  of  her  painters, 
as  of  her  principal  churches, 
date  from  the  thirteenth  cen- 
tury. It  is  known  that  a  cer- 
tain Bishop  Ugone,  who  died 
in  1235,  caused  the  atrium  of 
the  cathedral  to  be  decorated, 
and  that  half  a  century  later 
a  painter  called  Aimerio  had 
flourished  there ;   he  was  the 


21 


FIG.   361. — TRIPTYCH.      (dEFENDENTE  DE 
FERRARA.) 

Gallery,  Turin.     {Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


FIG.   362. VIRGIN  AND  SAINTS. 

(GIOV.   PIEMONTESE.) 

Gallery,  Citta  di  Castello. 
{Photo.  Alinari.) 


first  of  a  long  roll  of  artists  espe- 
cially numerous  in  the  fourteenth 
and  fifteenth  centuries.  Of  the 
painters  belonging  to  the  families 
of  Oldoni,  of  Giovenone  and  of 
Lanino,  we  shall  only  mention  the 
most  prominent. 

Boniforte  I.  Oldoni  was  born  at 

Milan  about   1412;    we  find  him 

established  at  Vercelli  in  1 462,  and 

he  was  already  dead  by  April,  1 478. 

He  had  seven  sons,  six  of  whom  at 

least  practised  the  art  of  their  father. 

A   single   picture   by   Eleazaro   (d. 

1516)   is  preserved   at  Turin ;    by 

Josue  (1465  ?-]  518?)  we  have  a 

fresco    at    Verrone.       Finally,     at 

Vercelli,  we  can  point  to  a  picture 

by    Boniforte    III.    (1520-1586?). 

Girolamo  Giovenone  (1490-1555,  Fig.  366),  a  restrained  and 

refined  painter,  acquired  greater  breadth  of  manner  on  passing  from 

the  art  of  Spanzotti  to  that  of  Gaudenzio,  and  he  painted  some  good 

portraits.   Giuseppe  Giovenone,  the  elder 

(1495?- 1553?),    is    the    author    of    a 

picture    at    Cirie,    and    Giuseppe,    the 

i/ounger  (1524-1606?),  of  two  pictures 

in  the  gallery  at  Turin,  which  show  him 

to  have  been  a  follower  of  Gaudenzio. 

The  same  may   be  said  of  Bernardino 

Lanino  (1  512  ?-l  583  ?),   a  prolific  and 

graceful,  but  rather  weak  painter. 

But  now  we  come  to  our  two  heroes 
— Sodoma  and  Gaudenzio. 

Giovanni  Antonio  Bazzi  (1 477-1  549), 
known  by  the  name  of  Sodoma,  was 
bom  at  Vercelli ;  after  having  been  the 
pupil  of  Gian  Martino  Spanzotti,  he 
came  into  contact  with  the  work  of 
Leonardo,  and  finally,  about  1501,  he 
took  up  his  abode  at  Siena.  He  was 
of  a  restless  and  bizarre  temperament, 
but  thanks  to  an  instinctive  feeling  for 
212 


fig.  363. virgin  and  child. 

(g.  m.  spanzotti.) 

Gallery,  Turin. 

(Photo.  Anderson.) 


ART  IN  PIEDMONT 


fig.  364. virgin  and  saints. 

(granmorseo.) 

Archbishop's  Palace,  Vercelli. 

{Pholo.  Masoero.) 


beauty  he  succeeded  in  rendering 
female  grace,  childish  mischief,  and 
the  nude  with  great  charm.  A 
master  in  the  execution  of  isolated 
figures  (Fig.  369),  above  all  of 
such  as  were  young  and  vigorous, 
he  showed  a  certain  insufficiency 
when  he  attacked  important  com- 
positions, to  which  he  failed  to 
give  unity.  He  worked  chiefly  at 
Siena  (Figs.  367,  368),  in  the  sur- 
rounding districts  (as  at  Montoliveto 
Maggiore,  near  Asciano)  and  in 
Rome,  where  in  the  villa  of  Agos- 
tino  Chigi,  known  later  as  the 
Farnesina,  he  has  left  us  master- 
pieces of  grace,  of  vigour,  and  of 
technique.  At  Siena  he  had  many 
disciples  and  followers,  among  them 
Girolamo  del  Pacchia,  Baldassarre  Peruzzi,  the  famous  architect, 
and  Domenico  Beccafumi. 

Gaudenzio  Ferrari,  if  inferior  to  Sodoma  in  the  matter  of  formal 
beauty  and  in  the  mastery  of  fresco 
painting,  surpasses  him  in  vivacity  of 
temperament,  in  the  frankness  of  his 
brush-work,  and  the  rich  vitality  of 
his  compositions.  Ferrari  was  born  at 
Valduggia  in  the  Val  Sesia  about 
1 48 1 ,  and  he  died  in  Milan  in  1  546. 
We  might  certainly  have  included  him 
in  the  Lombard  school  (of  this  school 
indeed  he  seems  to  us  the  greatest 
master),  but  it  appears  more  advisable 
to  speak  of  him  here,  since  it  was  at 
Vercelli  that  he  received  his  first  in- 
struction in  art,  and  here  that  he  pre- 
sided for  some  time  over  a  workshop. 
The  influence,  too,  of  Bramantino  and 
of  Luini  is  easily  recognised  in  his 
works,  but  nevertheless,  thanks  to  his 
joyous  and  fervid  temperament,  Gau- 
denzio   attained    to    a    well-defined 

213 


FIG.    365. — VIRGIN  AND  CHILD  WITH 
FOUR    SAINTS.      (MACRINO    d'ALBA.) 

Gallery,  Turin. 
{Photo.  Anderson.) 


ART  IN  NORTHERN  ITALY 


FIG.  366. — VIRGIN  AND  CHILD  WITH 
SAINTS.       (GIOVENONE.) 

Gallery,  Turin.     {Photo.  Alinari.) 


individuality  and  produced  a  notable 
number  of  works,  in  which,  in  spite  of 
occasional  awkwardness  and  weakness, 
he  shows  a  command  of  colour  and 
a  genial  sincerity  at  times  illuminated 
by  flashes  of  a  remarkably  modern 
spirit.  As  many  as  fifty  pictures  may 
be  attributed  to  him,  but  he  seems  to 
me  to  have  reached  a  higher  level  in 
the  frescoes  of  the  Santuario  at  Saronno 
(Fig.  370),  of  the  Sacro  Monte  of 
Varallo,  and  in  S.  Cristoforo  atVer- 
celli. 

Gaudenzio  Ferrari  also  worked  at 
Novara,  and  at  Novara,  too,  we  find  a 
certain  Sperindio  Cagnola,  his  pupil 
and  assistant,  who  in  1514  became 
security  for  him  in  the  matter  of  a  con- 
tract. Cagnola  sprung  from  a  family 
of  local  painters,  among  whom  we  have  record  of  a  Francesco 
(working  I  507)  and  of  an  older  artist,  Tommaso,  who,  in  the  last 
quarter  of  the  fifteenth  century,  was  painting  at  Gozzano,  his  native 
place,  in  the  adjacent  Bolzano 
country,  at  Garbagna  and  in  the 
abbey  of  San  Nazaro  alia  Costa. 
In  this  last  church  the  Cagnola  were 
working  in  competition  with  mem- 
bers of  the  Merli  family ;  to  this 
latter  family  belonged  Gian  Fran- 
cesco (working  1 498),  an  artist  held 
in  much  esteem  by  the  Duke  of 
Milan,  Salomone  and  Gian  Antonio 
(working  1474-1488).  On  the 
whole,  however,  we  have  to  deal 
with  painters  who  were  indeed  not 
deficient  in  sentiment  and  in  dis- 
tinction, but  as  a  body  were  timid 
and  behind  their  age. 

At  a  later  date  an  artist  of  more 
sterling  value  passed  to  Milan  from 
Novara — this  was  Cerano  ;  but  of 
him  we  have  already  spoken. 

214 


FIG.     367. 


-TRANCE     OF 
(SODOMA.) 


CATHERINE. 


Church  of  S.  Domenico,  Siena. 
{Photo.  Alinari.) 


ART  IN  PIEDMONT 


BIBUOGRAPHY    OF    CHAPTER    XVI 


FIG.  368. — ADAM  AND  EVE. 
(SODOMA.) 

Accademia,  Siena. 
(.Photo.  Alinari.) 


Lanzi,   Sloria   piUorica,    Plemonle;    I.    Lermolieff, 

Kunstkrilische  Studien;    Crowe  and  Cavalcaselle,   A 

History  of  Painting  in  North  Italy,   Berenson,  North 

Italian  Painters ;  F.  Gamba,  L'Arie  antica  in  Piemonte 

in  the  vol.  Torino,  Turin,  1 884 ;  F.  Rondolini,  La  pit- 

lura  torinese  nel Medioeuo  in  Atfi  delta  Societa  di  Arch- 

eologia  e  Belle  A  rti  per  la  provincia  di  Torino,  vii,  1 90 1  ; 

G.  C.  Chiecchio,  L'Arte  nell'alto,   Piemonte  in  Arte 

e  Storia,  vi,   1 887  ;    F.    Picco,    Un  pittore  piemontese 

del  sec.  xvi  in  Rassegna  d'A  rte,  iv,  1 9(D4  ;  A.  Berlolotti, 

Arlisti  subalpini  in  Roma  nei  secoli  xv-xvii,  Mantua, 

1 884 ;  Dufour  and  Rabut,  Les  peintres  et  les  peintures 

en  Savoie   in    Memoires  et   documents   publics   par  la 

Sociite  savoisienne  d'histoire  et  d'arch^ologie,  xii ;    I. 

Bernardi,  Antichi  pittori  di  Pinerolo  in  Arte  e  Storia, 

X,  1 89 1  ;  G.  Giacosa,  Caslelli  Valdostani  e  Canavesani, 

Turin,    1898;    E.  Berard,  Antiquites  romairtes  et  du 

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iii ;  A.  Gorret  and  C.  Bich,  Guide  de  la  Vall&  d'Aoste, 

Turin,   1876;   G.   T.    Rivoira,    Le  origin!  delCarchi- 

iettura  lomharda,  ii,  Milan,   1 908 ;   F.  Casanova   and 

C.   Ralti,   Aosta,  Turin,    1896;    Aubert,   La    Vallee 

d'Aoste;    1.    B.   de  Tillier,    Historiques  de  la  Vallie 

d'Aoste,  Aosta,   1888;  F.  de  Lasteyrie,  La  cathedrale 

d'Aoste,    Paris,     1854;    C.    Promis,     Chiostro    della 

cattedrale  d' Aosta  in  Miscellanea  storica  italiana,  xii, 

1871  ;   P.    Due,    Trisor  de   la  cathidrale  d'Aoste  in 

Reoue  de  I' Art  chretien,] 885;  E.  P.  Due,  LePrieur£ 

de  St.  Pierre  et  St.    Ours,  Aosta,   1899;  T.  Leclire. 

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au  Xy  Steele  in  Gazette  des  Beaux  Arts,  1907,  xxxvii ; 

R.  d'Azeglio,  La  R.   Galleria  di  Torino  illusirata,  Turin,   1836-1846;   E.  Jacobsen,  La  R. 

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Regia  Pinacoleca  di  Tonno,  Turin,  1899;  G.  B.  Fenante,  L' Archilettura  in  the  vol.  Torino, 

Turin,   1884;    D.  Bertolotti,  Descrizione  di  Torino, 

Turin,  1840;  G.  B.  Ghirardi,  //  duomo  di  Torino  in 

Illustrazione  italiana,  1891  ;   F.  Rondolini,  II  Duomo 

di   Torino   illustrato,  Turin,   1898;   Semeria,  Sloria 

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1 856 ;  F.  Paoli,  La  Sagra  di  S.  Michele  e  i  suoi 
sepolcri  di  principi,  Turin,  1868;  G.  Minoglio,  Brevi 
cenni  storici  sulla  chiesa  di  S.  Dorrtenico  in  Casale 
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delle  Langhe,  Rome,  1908  ;  L.  Bruzzone,  L'Arte  nel 
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biellesi,  con  un'appendice  sopra  gli  uomini  illustri 
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in  L'Arie  in  Italia,  ii,  Turin,  1870  ;  Antico  baltistero 
della  Cattedrale  di  Biella  in  Ateneo  religioso,^  Turin, 
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FIG.   369. — S.  SEBASTIAN.       (SODOMA.) 

Uffizi,  Florence. 
{Photo.  Alinari.) 


215 


ART  IN  NORTHERN  ITALY 

Lanzo  per  le  valli  della  Slura,  Turin,  1883  ;  F.  A.  Bianchini,  Le  cose  rimarcheooli  della  cittd  di 
Novara,  Novara,  1 828  ;  A.  Campani,  Di  alcuni  dipinli  che  si  conseroano  alia  Nooalesa,  Turin, 
1 908 ;  A.  Manara,  /  primordi  dell' A rte  novarese  in  Rassegna  d'A rie,  1 906  ;  R.  Giolli,  Appunti  di 
A  rte  novarese  in  Rassegna  d'A  rte,  1 908  :  B.  Chiara,  //  castello  di  Novara  in  Emporium,  1 902  ;  P. 
d'Ancona,  Cli  affreschi  del  castello  di  Mania  nel  Saluzzese'm  L'Arte,  1905;  D.  Chiattone,  La 
costruzione  della  Cattedrale  di  Saluzzo,  Saluzzo,  1 902 ;  F.  Savio,  /  monasteri  antichi  del 
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Mina,  Della  chiesa  di  S.  Maria  di  Castello  in  Alessandria,  Adessandna,  1904;  H.  Jouin,  La 
Cathedrale  d'Albi,  in  Gaz.  des  Beaux  Arts,  2,  xxvi,  403.  (There  are  many  pictures  by  Piedmontese 
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see  Albert  Naef,  Chilian,  Geneva,  1908;  F.  Negri,  Una  famiglia  di  artisti  casalesi  dei  secoli  xv  e 
xvi,  Alessandria,  1892;  F.  Gamba,  Abbadia  di  S.  Antonio  di  Ramerso  e  De/endente  de  Ferrari 
in  Am  della  Societd  d'Archeologia  e  Belle  Arti  di  Torino,  Turin,  1875  ;  A.  Manone,  Pier  Lom- 
bardo  nella  sua  effigie,  Novara,  1 902  ;  A.  Baudi  di  Vesme,  Martina  Spanzotti  in  A  rchivio  Storico 
dell' Arte,  1889;  L.  Ciaccio,  Cian  Martino  Spanzotti  da  Casale  in  L'Arte,  1904;  G.  Rossi,  // 
maestro  di  Lodovico Brea  in  Artec  Storia,  1896;  U.  F\erei,  Macrino  d'Alba  in  Gallerie  nazionali 
italiane,iii,  1897;  l^.CiAcao,  Macrino  d'Alba  in  Rassegna  d'Arte,  ]906;  G.  B.  Rossi,  Afacrino 
d'Alladio  (Macrino  d'Alba)  in  The  Burlington  Magazine  for  May,  1909;  G.  Frizzoni,  L'Arte 
in  Val  Sesiain  Archivio  Storico  dell'Arte,  1891  ;  De  Gregory,  Storia  della  oercellese  letteratura 
ed  arti,  Turin,  1819;  G.  Colombo,  Docamenti  e  notizie  intorno  gli  artisti  vercellesi,  Vercelli, 
1 883 ;  F.  Riffel,  Eusebio  Ferrari  und  die  Schule  von  Vercelli  in  Repertorium  far  KunstVDissen- 
schaft,  1891  ;  G.  Marangoni,  Girolamo  Giovenone  in  Emporium,  1909;  C.  Faccio,  Di  Ambrogio 
Labacco  architetto  Oercellese  del  secolo  xv,  Vercelli,  1894 ;  G.  Marangoni,  Bernardino  Lanino  a 
Vercelli  in  Emporium,  Bergamo,  1 908  ;  Alberto  Tea,  Circa  la  data  della  nascita  e  della  morte  di 
Bernardino  Lanino  in  Arch,  della  Societd  vercellese  di  Storia  e  d'Arte,  Vercelli,  1909;  Meyer, 
Sodoma,  Leipsic,  1880;  C.  Faccio,  Giovan  Antonio  Bazzi  detto  il  Sodoma,  Vercelli,  1902; 
R.  H.  Hobart  Cust,  Giovanni  Antonio  Bazzi,  London,  1906;  E.  Kupffer,  Die  Maler  der 
Schonheit,  G.  A.  II  Sodoma,  Leipsic,  1908;  Lilian  Priuli  Bon,  Sodoma,  London,  1908;  G. 
Bordiga,  Notizie  intorno  alls  opere  di  Gaudenzio  Ferrari,  Milan,  1821  ;  Pianazzi  and  Bordiga, 
Le  opere  di  Gaudenzio  Ferrari,  1846;  Caccia,  II  Sacro  Monte  di  Varallo,  Milan,  1876; 
G.  Colombo,  Vita  e  opere  di  Gaudenzio  Ferrari,  Turin,  188!  ;  A.  Massara,  Intorno  a  Gaudenzio 
Ferrari,  Novara,  1903;  Ethel  Halsey,  Gaudenzio  Ferrari,  London,  1904;  G.  Pauli,  Gaudenzio 
Ferrari  in  Das  Museum,  v.  57  ;  G.  Moretti,  //  Santuario  di  Saronno  in  Rac^segna  d'Arte,  1904. 


FIG.  370. — FRAGMENT  OF  THE  CUPOLA  OF 
S.  MARIA  DEI  MIRACOLI.   (g.  FERRARI.) 

Saronno.     (Photo.  Anderson.) 


216 


FIG.  371. PALAZZO  MADAMA,  TURIN.       (PholO.  AUnaH.) 


CHAPTER   XVII 


ART      IN      PIEDMONT      FROM      THE      REVIVAL 

OF  THE  SAVOYARD  MONARCHY  TO  THE  CLOSE 

OF  THE  NINETEENTH  CENTURY. 

Emmanuel Philibert  a  Patron  0/  the  Arts. — Charles  Emmanuel  and  His  Collections. — Charles 
Emmanuel  II.  a  Patron  of  Foreign  Artists. —  The  Arts  under  Victor  Amadeus  II. — 
Filippo  Juvara. — Francesco  Callo. — C  B.  Sacchetti. — Annexation  of  Piedmont  by  the 
French. — French  Influences. —  The  Albertina  at  Turin. — Massimo  d'Azeglio. — Carlo 
Marochetti. — Landscape  Painters  of  the  Modern  School. 

Proceeding  with  our  notice  of  the  art  of  Piedmont,  we  now  arrive 
at  the  time  of  Emmanuel  PhiUbert,  thanks  to  whom  the  country 
attt^ined  to  a  high  degree  of  dignity  and  fortune.  Legislator, 
controller,  and  renewer  of  his  state,  he  did  not  confine  his  attention 
to  such  matters  as  the  supreme  Court  of  Justice,  to  the  administration, 
to  agriculture,  and  to  the  army ;  in  contrast  to  his  predecessors,  who 
passed  much  of  their  time  beyond  the  Alps,  he  established  his 
cour^  at  Turin ;  to  this  town  he  transferred  the  university,  which 
he  took  under  his  protection ;  there  he  built  the  citadel,  and 
organised  the  mint,  and  there  he  died,  in  1  580,  after  a  long  and 
successful  reign. 

At  the  moment  of  the  revival  of  the  Savoyard  monarchy, 
which  was  brought  about  by  the  peace  of  Cateau-Cambresis  in 
1559,  a  few  painters  faithful  to  the  local  style  still  survived,  as  we 
have  seen,  although  this  style  may  be  considered  to  have  been  finally 
condemned  by  the  defection  of  the  greater  artists,  such  as  Sodoma 

217 


ART  IN  NORTHERN  ITALY 


FIG.   372. — NATIVITY.       (g.   VERMIGLIO.) 

Brera,  Milan.     {Photo.  Ferrario.) 


and  Gaudenzio.  No  wonder 
that  this  moribund  art  re- 
ceived its  final  quietus,  when 
Emmanuel  Philibert  went 
beyond  the  confines  of  his 
state  in  search  of  the  artists 
he  employed. 

He  began  by  finding  them 

not    very    far    from     home 

(1561-1573);    Giacomo 

Vighi,    known    as    Argenta, 

from   the  place  of  his   birth 

near  Bologna,  was  a  talented 

painter  of  portraits  whom  he 

dispatched     to     France,     to 

*t  Bohemia,  and  to  Saxony,  to 

paint  the  princes  of  those  countries  and  to  buy  pictures ;  Alessandro 

Ardente  of  Faenza,  who  died  in  1  595,  was  another  native  of  the 

Romagna   who  found  favour  with  him.     We  find,   further,   that 

Philibert  and  his  wife,  Margaret  of 
France,  favoured  Venetian  art,  turn- 
ing to  Paris  Bordone,  to  Jacopo 
Bassano,  and  Palma  Giovine. 

Charles  Emmanuel  takes  a  higher 
position  than  his  predecessor  as  a 
lover  of  letters  and  of  the  arts,  if  not 
by  virtue  of  intellect  and  warlike 
spirit.  During  his  reign  (1  580-1630) 
a  notable  collection  of  objects  of  art, 
of  manuscripts,  and  of  valuable  books, 
was  brought  together  at  Turin,  and 
to  hold  these  he  built  a  huge  gallery 
decorated  by  various  artists,  both 
foreign  and  Italian,  among  them 
Federico  Zuccari,  who  found  occupa- 
tion there  for  more  than  two  years, 
from  1 605  to  1 607  ;  in  this  last  year 
died  the  Fleming  Giovanni  Caracca 
(Jan  Kraek  or  Carrach).  He  had 
migrated  to  Piedmont  some  forty 
years  previously  on  the  invitation  of  Duke  Emmanuel  PhiUbert, 
who  had  appointed  him  painter  to  the  court. 

218 


^  ML 

2-  ^'5 

m 

^'n 

i 

,  ■  -  ■ 

fig.  373. — the  artist  at  work, 
(portrait  of  himself.) 

(G.  CACCIA,  CALLED  IL  MONCALVO.) 

Parish  Church  of  Moncalvo. 


ART  IN  PIEDMONT 


-PIAZZA     AND     PALAZZO     DEL     MUNICIPIO, 

TURIN.     {Photo.  Alinari.) 


Other  artists  who  flourished  at  Turin  between  his  time  and  that 
of  Charles  Emmanuel   were  Giuseppe  Vermigho  of  Alessandria 

(1575?-1635?,  Fig.372), 

and  his  fellow  citizen, 
Giorgio  Alberini  (1576- 
1627  ?),  who  collaborated 
with  Moncalvo  in  his 
paintings,  and  was  content 
to  remain  modestly  at 
Casale  and  enrich  it  with 
his  works,  while  Cesare 
Arbasia  (1550-1614), 
who  came  from  Saluzzo, 
wandered  all  over  Spain, 
painting  in  Cordova,  in 
Malaga,  and  in  other  cities. 
But  the  most  notable  artist 
of  this  period  was  Guglielmo  Caccia,  known  as  Moncalvo  (Fig.  373), 
who  was  born  at  Montabone  near  Acqui  about  1570,  and  who 
died  in  1625  at  Moncalvo,  from  which  town,  where  he  passed 
most  of  his  life,  he  took  the  name  by  which  he  is  best  known. 
Over-hasty  and  prolific,  he  failed  to  attain  to  the  position  to  which 
his  talents  seemed  to  have  destined  him  at  the  beginning.  He 
worked  in  various  parts  of 
Lombardy  and  in  half  the 
towns  of  Savoy,  more 
successful  as  a  fresco 
painter  than  in  his  oil 
pictures,  for  he  is  some- 
times weak  in  the  technical 
handling  of  this  latter 
medium.  In  order  to  carry 
out  the  manifold  commis- 
sions that  he  received  he 
availed  himself  of  the  as- 
sistance of  numerous  pupils, 
many  of  them  poor  painters 
(among  others,  of  his  two 
daughters  Orsola  Madda- 
lena  and  Francesca,  both  of  them  nuns),  a  fact  which  accounts  for 
the  feebleness  of  many  of  his  works. 

With  the  advance  of  the  seventeenth  century   the  number  of 

219 


-MARTYRDOM  OF  S.   PAUL. 
(a.  MOLINERI.) 

Gallery,  Turin. 


ART  IN  NORTHERN  ITALY 


FIG.  376.- 


-PALAZZO  CARIGNANO,  TURIN. 

(Photo.  Brogi.) 


artists  increased,  especially  during  the  reign  of  Charles  Emmanuel  II. 
(1638-1 675),  who,  loving  display,  erected  many  important  buildings, 

. among  them  the  new  Pa- 

I  ''  I      lazzo  Reale  at  Turin  and 

the  Castello  della  Veneria. 
But  his  incredible  mania 
for  furnishing  all  these 
buildings  in  the  shortest 
possible  space  of  time  led 
him  to  purchase  pictures 
of  every  kind,  many  of 
them  very  inferior,  and  to 
give  occupation  to  second- 
class  painters ;  among 
these  the  Fleming,  Jan 
Miel,  who  died  at  Turin 
in  1664,  scarcely  six  years 
after  he  had  migrated  from  Rome,  is  easily  first.  Giovanni 
Antonino  Molineri,  who  was  bom  at  Savigliano  about  1575  and 
was  still  living  in  1642  (Fig.  375),  carried  out  some  broadly  con- 
ceived frescoes. 

Charles    Emmanuel    summoned    from    Savoy    Laurent    Dufour 
(died  1 678  ?)  and  his  brother  Pierre  (died   I  702),  while  Charles 

Dauphin  (died  1670),  a 
pupil  of  Simon  Vouet,  came 
from  Lorraine  to  enter  the 
service  of  the  Prince  of 
Carignano. 

Charles  Emmanuel  was 
succeeded  in  1675  by  the 
youthful  Victor  Amadeus 
II.,  who  reigned  for  more 
than  half  a  century.  At 
first  he  was  devoted  to 
warlike  enterprises  and  to 
diplomacy  ;  later  on — after 
he  had  become  king  of 
Sicily  in  1  7 1 2 — he  applied 
himself  with  greater  zeal  and  ardour  to  the  patronage  of  art. 
A  prominent  painter  of  the  day  was  the  Viennese  Daniel  Seiter, 
whose  innate  heaviness  of  touch  and  poverty  of  colour  had  been 
little   improved   by   a   course  of   study   at  Venice.     In    1687   he 

220 


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CHURCH  DELLA  CONSOLAIA,   TURIN. 

{Photo.  Alinari.) 


ART  IN  PIEDMONT 


FIU.   378.- 


-CASTELLO  DEL  VALENTINO,  TURIN. 

{Photo.  Alinari.) 


received  the  appointment  of  painter  to  the  Ducal  court,  and  he 
painted  among  other  things  a  whole  gallery  in  the  Palazzo  Reale. 

In  fact  the  reign  of 
Victor  Amadeus,  in  spite 
of  its  long  duration,  would 
have  to  be  considered  as 
artistically  one  of  the  least 
important  in  the  annals  of 
Savoy,  had  it  not  happened 
that,  in  1713,  while  trav- 
elling in  Sicily,  he  had 
made  the  acquaintance, 
and  appreciated  the  work 
of,  Filippo  Juvara  or  Ju- 
varra,  the  famous  architect 
of  Messina  (1685-1735). 

When  Juvara  arrived  in  Turin  many  good  examples  were  to  be 
found  there  of  the  Baroque  style  of  architecture ;  among  these  we 
must  reckon,  not  so  much  the  works  of  the  Orvietan  architect 
Ascanio  Vittozzi,  who  built  the  church  of  Corpus  Domini  in  1610, 
as  those  of  Carlo  Emanuele  Lanfranchi,  the  architect  of  the 
Palazzo  di  Citta  (1669,  Fig.  374),  of  Carlo  Amadeo  Castellamonte, 
the  architect  of  the  Palazzo  Ducale  (now  Reale)  at  Turin,  and  of 
the  Castello  della  Veneria,  and  the  designer  of  the  Piazza  San 
Carlo ;  and  above  all,  those  of  the  Modenese  Guarino  Guarini 
(1524-1683).  to  whom 
we  owe  the  church  of 
San  Lorenzo,  the  Carig- 
nano  Palace  (Fig.  376), 
and  a  building  that  is  ad- 
mired above  all  for  the 
originality  of  the  concep- 
tion and  for  the  mechanical 
skill  shown  in  the  con- 
struction— the  chapel  of 
the  Santa  Sindone  (Fig. 
380),  adjoining  the  cathe- 
dral. Meantime  the  fact 
should  be  noted  that  in 
Messina  Guarini  had  suc- 
cessfully carried  out  several  buildings  (among  them  the  celebrated 
church  of  the  Theatines,  the  Annunziata),  so  that  Juvara,  before 

221 


FIG.   379. — SLP?;RC.A,  TURIN. 

{Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


FIG.     380. — CAPPELLA    DELLA    SINDOXE, 

CATHEDRAL,  TURIN.     {Pholo.  AUnari.) 


coming  to  Turin,  and  while  still  quite 
a  youth,  had  an  opportunity  of 
appreciating  the  worth  of  the  older 
architect  in  his  native  city  and  of 
there  studying  his  work — work  so  full 
of  vivacity  and  fancy,  and  at  the 
same  time  constructively  solid  and 
severe. 

For  the  rest  it  was  thanks  to 
Guarini  that  the  imposing  Italian 
type  of  the  Baroque  was  able  to 
assert  itself  boldly  in  Piedmont,  and 
to  hold  the  field  against  the  French 
style,  an  attempt  to  impose  which 
had  been  made  in  the  case  of 
the  Castello  del  Valentino  (Fig. 
378),  built  by  a  pupil  of  the 
architect  Salamon  Debrosse  at  the 
command  of  Cristina  (Madama  Reale),  daughter  of  Henry  IV 
of  France. 

In  1713  the  Ligurian  Giovanni  Antonio  Ricca  laid  the  founda- 
tion of  the  Turin  University,  and  he 
was  no  doubt  looking  forward  to 
occupation  and  fame,  when  Juvara 
came  upon  the  scene  to  deprive  him 
of  every  hope.  When,  in  fact,  the 
Sicilian  architect  arrived  in  Pied- 
mont, he  was  already  supported  by 
the  high  estimation  of  his  fellow 
artists  and  by  the  patronage  of  the 
Duke,  and  he  was  soon  able  to 
assert  himself,  thanks  to  principles 
informed  by  a  certain  classical 
simplicity,  and  influenced  by  the 
school  of  Carlo  Fontana.  In  addi- 
tion to  this,  the  vivacity  and 
promptness  that  he  showed  in  the 
conception  and  execution  of  his 
designs  aroused  such  universal  ad- 
miration, that  from  every  part  of 
Italy,  as  well  as  from  abroad,  he  was  overwhelmed  with  requests 
for  sketches  and  designs  for  altars,  churches,  and  palaces.  Meantime, 

222 


FIG.  381. — GRAND  STAIRCASE,  PALAZZO 

MADAMA,  TURIN.     (Photo.  AUnari.) 


ART  IN  PIEDMONT 


FIG.  382. — CASTLE,  STUPixiGi.     {Pholo.  AUtiari.) 


In  the  vicinity  of  Turin  he  buih  the  Superga  (Fig.  379),  admirable 

for  the  grandeur  of  the  whole  conception;    in  the  city  itself  the 

fa9ade  (Fig.  371),  and  the 

main  staircase  (Fig.  381) 

of  the  Palazzo  Madama, 

the  church  of  the  Carmine, 

the  facade  of  Santa  Cris- 

tina,  where  indeed  he  has 

thrown  to   the  winds  his 

accustomed  restraint ;  and, 

not  to  speak  of  other  works, 

in  the  adjacent  district  the 

sumptuous   castle   at  Stu- 

pinigi  (Fig.  382). 

An  architect  from  Mon- 
dovi,      Francesco     Gallo 

(1672-1750),  was  at  work  in  Piedmont  contemporaneously  with 
Juvara.  He  was  at  once  soldier,  topographer,  military  engineer 
and  architect,  and  to  him  we  are  indebted  for  more  than  one 
building  that  entitles  him  to  rank  as  a  true  artist.  All  these,  how- 
ever, were  surpassed  in  vigour  and 
in  beauty  by  the  gigantic  ellip- 
tical cupola  raised  by  Gallo  above 
the  Santuario  of  Vicoforte,  built  by 
Vittozzi  (Fig.  383).  The  Duke  had 
recourse  to  Gallo  repeatedly  in 
connection  with  plans  for  fortifica- 
tions, but  he  could  never  succeed 
in  inducing  him  to  abandon  his  na- 
tive town  and  establish  himself  in 
Turin. 

Juvara,  of  course,  left  pupils 
and  imitators  behind  him  in  Turin. 
Among  the  first  were  G.  B.  Sac- 
chetti,  who  was  taken  by  the  master 
to  Spain  where  he  afterwards  built 
the  Royal  Palace  at  Madrid  ;  among 
the  latter  we  must  reckon  Bernardo 
Vittone  and  Count  Benedetto  Alfieri 

who,  in  the  church  of  SS.  Giovanni  Battista  e  Remigio  (1756- 
1  776)  at  Carignano,  shows  a  certain  eccentricity,  but  also  proves 
his  talent  (Fig,  384). 

223 


FIG.  383. — CHURCH,  VICOFORTE. 
{Photo.  Melano  Rossi.) 


ART  IN  NORTHERN  ITALY 


riG.   384. CHURCH  OF  SS.  GIOVANNI  BATTISTA 

AND  REMIGIO,   CARIGNANO.       {Pholo.   EccleSta.) 


In  the  domain  of  painting  Claude  Beaumont  (1694-1766),  who 
had  worked  in  the  school  of  Francesco  Trevisani  in  Rome,  rose  to 

distinction.     On  his  return 

to  his  native  town,  Turin, 
in  1  73 1 ,  Beaumont  was 
appointed  painter-in-chief 
to  the  king  ;  here  he  accu- 
mulated honours  and  for- 
tune, being  with  justice 
considered  the  most  im- 
portant artist  of  the  day  in 
Piedmont.  His  best  known 
work  is  the  decoration  in 
fresco  of  the  gallery  in  the 
Royal  Palace,  called  after 
him  the  "  Galleria  Beau- 
mont "  (Fig.  385). 
As  is  well-known,  the  eighteenth  century  closed  with  the  abdica- 
tion of  Charles  Emmanuel  IV.  (December,  1  798)  and  the  annexation 
of  Piedmont  by  the  French,  who  established  a  provisional  government 
there  and  appointed  a  commission  **  of  Arts,"  whose  task  it  was 
to  select  the  best  pictures  and  to  despatch  them  to  Paris,  where  they 
were  placed  in  the  Museum  of  the  Louvre.  To  this  organised  plun- 
dering, carried  out  under 
the  pretext  of  enriching  the 
public  collections  of  Paris, 
must  be  added  many  ar- 
bitrary seizures  by  the 
French  generals  and  officials 
for  their  private  advantage. 
With  the  restoration  of 
1814,  Victor  Emmanuel  I. 
returned  to  Piedmont  and, 
as  in  the  case  of  other  princes 
who  were  restored  to  their 
states,  he  regained  posses- 
sion of  many  of  the  works 
of  art  that  had  been  pre- 
viously carried  away. 

Of  the  various  artistic  movements  of  the  nineteenth  century 
something  has  already  been  said  when  treating  of  the  art  of  Venice 
and  of  Lombardy.     In  Piedmont  also  there  was  an  improvement 

224 


FIG.  385. — TRIUMPH  OF  VENUS.      (BEAUMONT.) 

Palazzo  Reale,  Turin.     (Photo.  Charvel.) 


ART  IN  PIEDMONT 


fig.  386. — ulysses  and  nausicaa. 

(m.  d'azeglio.) 

Museo  Civico,  Turin. 


upon  the  past,  only  here  the  development  came  about  under  a  more 
distinctly  French  influence,  as  may  be  readily  seen  in  the  works  of 
Pietro  Bagetti  of  Turin 
(1 764- 1 83 5), who  painted 
the  victories  of  the  French 
for  Napoleon,  and  of  his 
fellow  citizens,  G.  B.  de 
Gubernatis  (1775-1837), 
both  statesman  and  land- 
scape painter,  and 
Luigi  Vacca  (1771- 
1854),  to  whom  we  are 
indebted  for  the  drop- 
scene  of  the  Carignano 
theatre,  where  the  spirit 
of  Tiepolo  is  fused  with 
the  lighter  touch  of  the  French  decorative  artists  in  a  composition 
remarkable  for  its  gaiety  and  brilliance. 

Meantime  the  neo-classic  school  was  making  way,  thanks 
especially  to  the  efforts  of  the  sculptors,  among  whom  we  must 
mention  Giacomo  Spalla,  a  disciple  of  Canova,  and  Vittore 
Amadeo  and  Luigi  Bernero  who  were  also  painters. 

Piedmont  indeed  at  this  time  produced  some  notable  painters,  but 
they  did  not  remain  there  long,  attracted  above  all  by  the  fervour  of 

the  artistic  life  that  pre- 
vailed in  Milan.  Giuseppe 
Mazzola  (1748-1838), 
after  having  studied  in 
Rome  and  worked  at  Turin 
as  well  as  in  his  native 
Valduggia,  took  up  his 
abode  in  Milan,  and  there, 
too,  Giovanni  Migliara  of 
Alessandria  (1785-1837) 
passed  nearly  the  whole  of 
his  life,  painting  litde  land- 
scapes, historical  scenes 
and  genre  subjects  with 
rare  elegance. 

The  subsequent  victory  of  the  Romantic  School  corresponded 
very  closely  with  the  reorganisation  brought  about  by  Charles 
Albert   in   the   Academy   of   Fine   Arts,   called    at   that    time  the 

225 


no.  387. — PALAZZO  CARIGNANO,   PIAZZA  CAKLO 
ALBERTO,    TURIN.      (PholO.    Brogt.) 


ART  IN  NORTHERN  ITALY 


FIG.    388. CATHEDRAL,    NOVARA. 

(Pholo.  Alinari.) 


Alherlina  after  him,  although  the  institution  dated  back  to  the  seven- 
teenth century.    Among  the  most  notable  masters  of  this  period  was 

Massimo  d' Azeglio  ( 1  798- 
1866,  Fig.  386),  better 
known  as  a  statesman  and 
as  an  author.  An  impor- 
tant position  was  taken  by 
sculpture,  thanks  to  the  dis- 
tinguished work  of  Carlo 
Marocchetti  (1805-1868), 
an  unequal  artist  indeed, 
not  always  happy  in  his 
inspiration,  but  who  attained 
from  time  to  time  to  a  rare 
level  of  excellence,  as  in 
his  equestrian  statue  of 
Emmanuel  Philibert.  In 
addition  to  this,  the  Turin  school  of  sculpture  received  support 
from  the  teaching  of  Vincenzo  Vela  (see  pp.  1  77,  1  78)  ;  among  his 
disciples  were  Scipione  Cassano  (d.  1906),  the  sculptor  of  the 
lifelike  figure  of  Pietro  Micca,  and  Pietro  della  Vedova  ( 1 83 1  - 
1898). 

At  a  later  date  the  Lombard  sculptor,  Odoardo  Tabacchi 
(1831-1905,  see  pp.  177,  178),  taught  at  the  Albertina,  and  his 
studio  produced  a  band  of  young  artists  who  do  honour  to  Turin  and 
to  Italy  at  the  pres- 
ent day. 

It  was,  however, 
the  landscape 
painters  who  were 
the  first  to  emanci- 
pate themselves  in 
some  degree  from 
the  subjection  to 
Romanticism,  and  to 
break  fresh  ground ; 
and  foremost  among 
these  we  must 
reckon  Antonio 
Fontanesi  of  Reggio  Emilia  (1818-1882),  an  erratic  and  poetical 
spirit,  whose  meritorious  work  was  for  long  years  almost  entirely 
neglected.     No  doubt  he  felt  the  influence  of  the  French  painters, 

226 


FIG.    389. — A    CARAVAN    IN   THE   DESERT.      (A.    PASINI.) 

Accademia,  Florence.     {Photo.  Brogi.) 


ART  IN  PIEDMONT 


but  this  was  only  in  externals — in  the  manner  of  execution — for  the 

profoundly   emotional,    almost   religious   note   which   informs   his 

landscapes  is  an  essentially  personal  one.     Nor  did  architecture  lack 

notable  representatives  in  Turin  in  the  nineteenth  century ;    the 

facade  of  the   Palazzo  Carignano  confronting  the  Piazza  Carlo 

Alberto  (Fig.  387),  is  remarkable  for  its  beauty ;   this  palace  was 

built  between  1864  and   1871   by 

Gaetano   Ferri   of   Bologna   (died 

1897)    and    Giuseppi    BoUati    of 

Novara     (1819-1869);      equally 

notable  for  vigour  of  conception  is 

the  erection  originally  built  for  a 

synagogue,  then  bought  by  the  city 

as  a  national  memorial  of  Victor 

Emmanuel  II.  ;   from  the  name  of 

the    architect — Alessandro    Anto- 

nelh    of    Ghemme    (1798-1888) 

— this  has  come  to  be  known  as 

the  Mole  Anlonelliana  (Fig.  390). 

The  constructive  skill  shown  by  him 

in  this  building,  which  rises  to  a 

height  of  1 64  metres,  is  admirable 

for  the  simplicity  and  the  novelty 

of  the  means  adopted.     However, 

it  cannot  be  said  that  all  the  parts 

combine    to    form    a    harmonious    whole,    and    perhaps,    from    an 

aesthetic    point    of   view,    the   cupola   of   S.    Gaudenzio    and  the 

cathedral  (Fig.  388)  at  Novara  are  better  evidences  of  the  genius 

of  Antonelli. 

But  enough  of  Piedmont,  which,  in  spite  of  the  many  gifted  artists 
it  has  produced,  yet  never  attained  in  the  domain  of  art  to  the 
lofty  position  of  other  regions,  and  this  in  consequence  of  a  failure 
to  combine  the  local  forces  and  to  direct  them  to  the  attainment  of 
a  definite  type.  The  pages  that  we  have  devoted  to  this  land, 
where  names  occur  sporadically,  and  facts  are  but  loosely  correlated, 
inevitably  reflect  the  character  of  the  local  art. 


FIG.    390. — MOLE  ANTONELLIANA, 

TURFN.     {Photo.  Alinari.) 


BIBUOGRAPHY  OF  CHAPTER   XVII 


L&nn,  Sioria  pillorlca  :  Piemonle;  Burckhardt,  Der  Cicerone ;  Ricci,  Sloria  Jell  'Archileltura; 
Rollins- Villard,  Modern  Italian  A rl;  Baudi  di  Vesme,  Catalogo  della  Pinacoteca  di  Torino; 
De  Giorgi,  Pittori  alessandrini,  Alessandria,  1836;  C.  Turletti,  Storia  di  Saoigliano,  Savigliano, 
1883;   Callari,   Storia   dell'Arte   contemporanea;    A.    Colasanti,    Fifty  Years   of  Italian  Art: 


227 


y2 


ART  IN  NORTHERN  ITALY 

De  Gubematis,  Dizionario  degli  ariisti  italiani;  M.  Michela,  Arle  moderna  in  the  vol.  Torino, 
Turin,  1884;  F.  Negri,  Giorgio  Alberini  pitlore,  Alessandria,  1815;  F.  Negri,  II  Moncaloo, 
Alessandria,  1 896 ;  Clemente  Rovere,  Descrizione  del  Reale  Palazzo  di  Torino,  Turin,  1 858 ; 
E.  Bonardi,  //  Palazzo  Reale  di  Torino  in  Gazzeita  del  Popolo,  Turin,  1 904  ;  for  Beaumont  see 
Puttini  e  figure  decorative,  Turin,  Charvet  and  Grossi ;  Alfredo  Melani,  L'abate  D.  Filippo 
Juvarra  in  Vita  d'arte,  1 909  ;  G.  Deabate,  Glorie  messinesi  e  calahresi  in  Piemonte  in  the  Nuooa 
Antologia,  cxxxix,  1909  ;  F.  A.  Bosio,  Be//e  Arti  nella  cattedrale  torinese  e  anticaglie  nella 
cappella  delta  S.  Sindone,  Turin,  1857;  G.  C.  Chiechio,  Francesco  Gallo  ingegnere  e  architelto, 
Turin,  1886;  Chiechio,  Pitlure  del  Santuario  di  Mondovi,  Cuneo,  1890;  L.  Melano-Rossi,  The 
Santuario  of  the  Madonna  di  Vico,  London,  1907  ;  La  basilique  de  Superga,  Turin,  1841  ;  G. 
Caselli,  La  Mole  Anlonelliana  in  Arte  e  Storia,  1895;  G.  Lavini,  Alessandro  Antonelli,  and 
G.  Caselli,  II  Santuario  di  Roccanovarese,  architettura  di  A.  Antonelli  in  \he  Architettura  lialiana, 
iv,  Turin,  1909;  L.  de  Laverque,  Statue  iqueslre  d'Emm.  Philibert  par  Maroccheiti  In  the 
Revue  Francaise,  anno  vi ;  P.  Giusti,  G.  M.  Borzanigo,  Turin,  1 869 ;  M.  Calderini,  Memorie 
postume  di  Francesco  Mosso,  Turin,  1885;  M.  Calderini,  /I  n/onio /*on/anesr,  Turin,  1903;  E. 
Thovez,  Antonio  Fontanesi  in  Emporium,  July,  1901  ;  Lorenzo  Delleani  in  Emporium,  June, 
1898. 


228 


ilG.    391. — DOOK-HEAD.       S.    GEORGE    AND    THE   DRAGON,    PALAZZO   IN    VICO   MELE,    GENOA. 

{Photo.  Alinari.) 


CHAPTER    XVIII 
SCULPTURE    AND    ARCHITECTURE    IN    LIGURIA 


Aspect  of  Liguria. — Roman  Remains.^ Romanesque  Churches. — Gothic  Churches. — General 
Character  of  Churches  of  Genoa. — Cathedral  of  S.  Lorenzo.- — Type  of  Genoese  Palaces. 
— French  and  Tuscan  Influences. — Majolica  Tiles. — Magistri  Antelami. —  The  Solari, 
and  other  Sculptors. —  The  Gaggini. — Galeazzo  Alessi. — His  "Palaces  in  Genoa. — Later 
Architects. 

A  MARVELLOUS  land  is  Liguria,  sloping  down  to  the  sea  upon  the 
great  curve  of  coast  between  Lerici  and  Turbia.  There  is  perhaps 
no  tract  of  land  more  varied,  even  if  there  be  one  more  beautiful. 
The  whole  is  a  succession  of  small  and  half-hidden  bays,  of  rugged 
rocks,  of  green  meadows,  of  wooded  hills,  and  of  mountains  crowned 
by  ancient  fortresses.  On  every  side,  amidst  the  luxurious  vegeta- 
tion and  the  endless  throbbing  of  the  sea,  there  are  fishing  villages 
alternating  with  sumptuous  villas ;  cities  swarming  with  busy  life 
and  with  cheerful  hostelries ;  delicious  tranquil  bays,  with  ports 
or  arsenals  crowded  with  men  and  with  labour ;  and  in  the  midst 
lies  Genoa,  the  rich,  proud,  and  magnificent  city  which  dispenses 
employment  and  well-being  to  all  the  surrounding  country,  whence 
from  every  side  she  receives  the  undisputed  homage  and  veneration 
due  to  a  provident  and  careful  mother. 

He  who  believes  Liguria  to  be  devoted  to  gain  and  contemptuous 
of  the  arts  does  her  injustice.  True,  she  has  preferred  not  to 
be  herself  a  producer  ;  but,  on  the  other  hand,  she  has  eagerly  sought 
for  things  of  beauty  and  paid  for  them  generously,  although  she  may 
have  had  to  go  to  other  lands  to  satisfy  her  wants.  Thus  it  happens 
that  the  region  is  essentially  a  home  of  art,  and  as  such  it  presents 

229 


ART  IN  NORTHERN  ITALY 


itself  to  one  who  traverses  it  without  preconceptions,  and  does  not 
confine  his  sojourns  to  the  haunts  of  pleasure. 

Here  are  fine  Roman  remains,  such  as  the  bridges  over  the 
Bormida  at  Millesimo  and  the  Centa  at  Albenga ;  the  sepulchral 
monument,  known  as  the  Faro,  on  the  brow  of  the  hill  near  the 
latter  town  ;  the  singular  lighthouse  tower  on  the  rocky  islet  opposite 
Bergeggi ;  the  theatre  at  Ventimiglia  and  the  ruins  of  Luni.  Then 
again,  coming  to  the  Middle  Ages  we  find  such  military  works  as  the 
Soprana  and  Vacca  gates  at  Genoa  ;  the  walls  of  Levanto,  of  Noli, 
of  Monterosso,  and  of  Porto  Venere ;  the  towers  of  Noli,  of 
Andora,  and  of  Portofino ;  the  castle  of  the  Doria  at  Dolceacqua, 
and    those    of    Castelnuovo    Magra,    of    Areola,    of    Gavone    at 

Finalborgo  (Fig.  392),  of  Sarzana, 
of  Appio,  and,  surpassing  them  all, 
the  magnificent  fortress  of  Lerici ; 
then  the  Baptistery  (Fig.  393)  and 
the  lower  part  of  the  faqade  of 
the  cathedral  at  Albenga  (the  oldest 
Christian  building  in  the  whole  of 
Liguria,  perhaps  of  the  fifth 
century) ;  notable  Romanesque 
churches,  such  as  the  cathedral 
and  the  baptistery  at  Ventimiglia ; 
S.  Siro  with  the  adjacent  Canonica 
at  S.  Remo  ;  the  cathedral  at  Gavi ; 
the  parish  church  of  Borzonasca, 
with  its  exterior  arcade  supported 
by  lofty  wall-strips ;  S.  Paragorio  at 
Noli ;  the  convent  on  the  islet  of 
Tino  in  the  Gulf  of  Spezzia ;  the 
two  churches  dedicated  to  St. 
Bartholomew  at  San  Pier  d'Arena  and  the  picturesque  ruins 
of  S.  Pietro  at  Porto  Venere,  planted  proudly  upon  the  edge 
of  the  black  rock  that  overhangs  the  sea.  Then  again  we  have 
a  whole  series  of  buildings  in  which  the  Romanesque  arch  is 
married  to  the  ogival,  and  others  in  which  the  ogival  has  finally 
triumphed,  as  in  the  church  of  SS.  Giacomo  e  Filippo,  and  in  that 
of  the  Castello  at  Andora  (Fig.  395)  ;  in  the  ruined  church  of 
Valle  Cristi  near  Rapallo  (Fig.  394),  in  the  already  mentioned 
cathedral  of  Albenga  (Fig.  396),  in  the  abbeys  of  Soviore  at 
Monterosso,  of  S.  Maria  del  Tiglieto  at  Cervara,  of  S.  Fruttuoso 
with  the  tombs  of  the  Dorias  (Fig.  397),  crouching,  as  if  in  fear 

230 


FIG.  392. CASTEL  GAVONE,  FINALBORGO 

(Photo.  Alinari.) 


SCULPTURE    AND    ARCHITECTURE    IN    LIGURIA 


FIG.    393. — BAPTISTERY,    ALBENGA. 


of  the  wrath  of  the  sea,  between  the  rocks,  and  in  those  of  Levanto, 

of  Riomaggiore,  and  finally  of  S.  Salvatore  at  Cogorno  (Fig.  398), 

confronting  the  palace  of  the 

Fieschi   in   the   little    piazza, 

close  by  the  valley  where  at 

all   seasons   the   fresh    stream 

of   the   Entella  runs  between 

banks  lined  with  trees. 

Nor  at  Genoa  is  there  any 

lack  of  churches  belonging  to 

the  Romanesque  and  Gothic 

periods,  such  as  S.  Maria  di 

Castello,  S.Donato,  SS.Cosme 

e  Damiano,   S.    Maria   delle 

Vigne,  of  which  the  cloisters 

are  of   the  eleventh   century, 

the   tower   of   the   twelfth,    while   the   interior   dates   from    1 586 ; 

S.  Matteo  in  its  little  antique  piazza,  and  S.  Giovanni  Battista  di 

Pre,  remarkable  for  its  lower  church  and  its  beautiful  Gothic  bell- 
tower  (Fig.  399). 

In  these  churches  the  basilican  type  predominates,  with  a  tympanum 

and  drip  mouldings  on  the  facade; 
the  walls  are  strengthened  by  pilas- 
ters, and  crowned  by  blind  arcades. 
Above  a  single  doorway,  with  simple 
mouldings,  opens  a  great  rose  win- 
dow. Generally,  too,  the  facades 
and  the  side  walls,  and  sometimes 
also  the  walls  of  the  interior,  are 
faced  with  bands  of  black  and  white 
marble. 

The  square  bell-towers  usually 
terminate  in  a  faceted  spire  with 
four  pinnacles  at  the  angles,  after 
the  French  style ;  and  at  Genoa 
this  French  influence  is  shown  also  in 
the  ornamental  details  of  the  cathe- 

FiG.  394.— RUINS  OF  THE  CHURCH  OF    dral  dedicated  to  S.  Lawrence,  the 

VALLE   CRISTI,    RAPALLO.  •     1         .  j  ,   •     .  .  i  i      • 

(Photo  AUnari)  nchest  and  most  mterestmg  church  m 

the  whole  of  Liguria  (Figs.  400,40 1 ). 

The  earliest  records  that  we  have   of  this  building  go  back  to 

the    last    years    of    the    eleventh    century,    to    a    time    when    the 

231 


ART  IN  NORTHERN  ITALY 


FIG.    395. CHURCH    OF    THE    CASTELLO,    ANDORA. 

{Pholo.  Alinari.) 


Crusaders,  led  by  Guglielmo  Embriaco,  had  just  returned  from  the 
East  bearing  precious  reHcs.     The  church  was  consecrated  in  1118, 

To  this  time  belong,  at 
least  in  part,  the  side 
entrances  and  some  sculp- 
tures in  other  parts  with 
episodes  in  the  life  of  the 
Virgin.  The  French  in- 
fluence appears,  however, 
in  the  pilasters  and  in  the 
relief  within  the  lunette  over 
the  main  entrance,  where 
a  Gothic  arch  gives  evi- 
dence of  a  later  period — of 
the  beginning,  perhaps,  of 
the  fourteenth  century.  It 
represents    the    Redeemer 

enclosed    in    the    usual    mandorla,    between    the    symbols    of    the 

Evangelists,  and  below  it  we  see  the  martyrdom  of  S.  Lawrence. 

To  this  time  also  must  belong  the  figure  of  the  so-called  Arrotino, 

carrying   in   his   hand   the   disk   of   a   sundial,    a   statue   that   has 

been  wrongly  regarded  as  represent- 
ing some  saint,  such  as  S.  Quirino, 

holding  his  emblem  of  martyrdom, 

a  millstone  (Fig.  401). 

The  cathedral  was  burnt  in  1296, 

and  the  interior  was  rebuilt  in  the 

course  of  the  following  ten  years  in 

the  pointed  style  then  in  favour  (Fig. 

402).    One  Marco  da  Venezia  was 

employed  on  the  work,  perhaps  the 

same  man  who  built  the  cloisters 

of  S.   Matteo.     Finally,  in   1567, 

Galeazzo  Alessi  erected  the  cupola. 

During  the  two  following  centuries 

the    building    was    degraded    by 

various  additions,  and  only  in  1 896 

were  any  important  works  of  res- 
toration undertaken. 

The   palace    of    S.    Giorgio    is 

typical    of    the   ancient   palaces   of   Genoa   (Fig.    403) :    founded 

shortly    after    the    middle    of    the    thirteenth    century,    repaired    in 

232 


FIG.    396. — CATHEDRAL,    ALBENGA. 

{Photo.  Alinari.) 


SCULPTURE    AND    ARCHITECTURE    IN    LIGURIA 


FIG.    307. S.    rRUTTUOSO,    WITH    THE   TOMBS    OF 

THE  DORIA,  PORTOFINO.     {Photo.  AUnari.) 


the  following  century,  and  enlarged  in  1571,  the  old  building  was 

only   rescued   from   destruction   and   restored   within   the   last  few 

years.      It    rises    in    two 

storeys   over   the   portico, 

the   first   with   quadruple, 

the     second     with     triple 

windows,  and  it  is  crowned 

by  an  embattled  cornice. 
Of   later   date   are   the 

unique,    richly    decorated 

doorways,  with  architraves 

carved  with  sacred  subjects 

— the    Adoration    of    the 

Magi,    the   Annunciation, 

or,  more  often,  S.  George 

(Fig.  391).    To  these  we 

shall  return  presendy. 

All   the   Ligurian   buildings   that  have   been   mentioned   so   far 

reveal  those  foreign  influences  to  which  we  have  already  referred. 

In  the  vaulting  of  the  church  of  S.  Michele  at  Ventimiglia  we  find 

the  revelation  of  French  influence, 
no  less  than  in  the  sculptures 
of  the  cathedral  at  Genoa.  On 
the  other  hand,  the  further  we 
proceed  along  the  Eastern  Riviera 
towards  the  Tuscan  frontier  at  the 
river  Magra,  the  more  pronounced 
are  the  borrowings  from  the  Tuscan 
style.  The  great  wheel-windows 
of  the  churches  between  Levanto 
and  Spezzia  (Riomaggiore  and 
Monterosso)  bear  the  impress  of 
Pisa.  This  is  still  more  evi- 
dent in  the  decorative  work  in 
marble.  The  capitals,  for  example, 
together  with  the  columns,  were 
imported  ready  finished  from  the 
great  workshops  of  the  Carrara 
district.      They    were    articles    of 

commerce  throughout  the  length  and  breadth  of  Liguria  and  even 

in  foreign  lands. 

There  was  another  article  of  "  artistic  "  commerce  which  spread 

233 


FIG.    3q8. — BASILICA    OF   S.    SALVATORE, 

LAVACNA.     {Pholo.  AUnari.) 


ART  IN  NORTHERN  ITALY 


■ 

S^J 

M 

ii-m 

'^ 

FIG.    399. — CHUKCH   OF 
S.    GIOVANNI    DI    PRE,    GENOA. 

(Pholo.  Noack.) 


in  the  opposite  direction,  from  west  to  east : 
this  was  the  decorative  majoUca  that  had 
its  origin  in  Spain.  The  ambrogette  (tiles), 
with  which  in  the  thirteenth  and  fourteenth 
centuries  the  pinnacles  of  the  campanili  of 
Albenga  and  Genoa  were  covered,  and 
which  in  the  fifteenth  and  sixteenth  cen- 
turies were  used  for  the  lining  of  walls  and 
for  pavements,  as  in  the  villa  at  Carig- 
nano,  show  distinct  evidence  of  Hispano- 
Mauresque  origin ;  such  tiles  remained  in 
use  until  they  were  replaced  by  the  prod- 
ucts of  the  kilns  of  Savona  and  of  Albissola, 
an  industry  that  was  based  on  that  of 
Central  Italy,  from  Faenza  to  Urbino. 

The  artists,  however,  most  active  in 
Liguria  were  the  Lombards,  those  above 
all  from  the  Antelamo  valley.  The  re- 
semblance between  the  Broletto  at  Como 

and  the  contemporary  buildings  at  Genoa  is  patent,  though  they 

are  not  absolutely  identical.     The  Genoese  artists,  indeed,  whether 

native  or  foreign,  did  not  in  the  end 

remain  stricdy  subject  to  the  Lom- 
bard canons ;  but,  yielding  to  tech- 
nical necessities,  especially  in  working 

the  local  stone,  they  ended  by  creating 

a    distinctly    characteristic    type    of 

architecture,   quite  distinct  from  the 

original  model.  » 

Already    by     1181     we    find    in 

Genoa  a  Martin  and  an  Ottobono, 

magistri  Antelami,  a   generic  name 

under  which  it  was  the  habit  at  that 

time  to  include  all  the  maestri  who 

came  from  the  districts  of  Como  and 

of  Lugano.     It  is  probable  that  the 

uniformity  of   the  name   was  in   no 

small  measure  due  to  the  fact  that 

these  men  almost  always  worked  in 

unity,     and    that    they    were    held 

together  "  by  bonds  of  fraternity,  by  common  habits  of  life,  and 

often  also  by  blood  relationship."     Thus  it  came  about  that  these 

234 


r 

CATHEDRAr,    OR    CHURCH    OF 
LORENZO,    GENOA. 


(Pholo.  Alinari.) 


SCULPTURE    AND    ARCHITECTURE    IN    LIGURIA 


Maestri  Lomhardi  continued  to  work  as  sculptors  and  builders 
in  Liguria  for  a  very  long  time. 

Antonio  della  Porta  of  Porlezza  worked  in  the  cathedral  of 
Savona  (1506),  and  at  Genoa  he  built  the  gateway  of  the  edifice 
erected  by  Lorenzo  Cattaneo  near  S.  Giorgio  (I  505)  and  carved 
the  statue  of  Antonio  Doria  in  the  Palazzo  di  S.  Giorgio  (1509). 
Gian  Giacomo  della  Porta  (died  1555)  was  the  author  of  a  number 
of  statues  and  of  the  great  doors  of  the  houses  of  the  Giustiniani 
(1515),  Salvago  (1  532),  and  Fieschi  (I  537)  families,  also  of  several 
fountains  together  with  Niccolb  da  Corte,  with  whom,  too,  he  worked 
at  the  statues  for  the  Cibo  chapel  in  the  cathedral  at  Genoa.  His 
doorways  are  no  longer  crowded  with  small  figures  and  minute 
foliage ;  they  exhibit  a  bold  archi- 
tectural development  with  columns 
and  pilasters.  In  Guglielmo  della 
Porta  (1500?-!  577)  we  have  a 
greater  man,  but  his  presence  was 
soon  claimed  at  Rome,  where, 
among  other  works,  he  has  left  us 
the  tomb  of  Paul  III.,  a  monu- 
ment which  alone  would  sufiice  to 
ensure  his  fame. 

There  was  at  work,  too,  in 
Genoa,  a  belated  group  of  that 
numerous  family  of  the  Solari  who 
came  originally  from  the  Carona 
district  in  the  province  of  Como. 
A  certain  Tullio  (not  to  be  con- 
founded with  Tullio,  the  son  of 
that  Pietro  who  was  the  great 
founder  of  the  school  at  Venice  : 
see   p.    24)   was   at   work   in   the 

last  years  of  the  sixteenth  century,  upon  the  fountain  which  stood 
formerly  in  the  Piazza  Soziglia,  and  one  Antonio,  later  on,  upon 
another  fountain  formerly  in  the  piazza  in  front  of  the  Ducal 
Palace.  Daniello,  who,  like  Bernardo  Schiaffino,  adopted  the 
manner  of  Bernini  in  Rome,  and  who  died  after  1  702,  introduced 
at  Genoa  all  the  pomp  of  the  art  he  had  learned  in  the  Papal  city ; 
a  florid  example  survives  in  a  relief  which  adorns  an  altar  in  S.  Maria 
delle  Vigne.  He  became  more  refined  when  brought  into  contact 
with  Puget,  whom  he  assisted  in  the  works  carried  out  by  the  latter 
in  Genoa. 

235 


FIG.     401. — FRAGMENTS     OF     THE     FACADE 
OF    S.    LORENZO,    GENOA. 

(Pholo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


The  Aprile  family  also  came  from  Carona,  and  already  by  1 470 
we  find  them  in  Genoa.  At  a  later  date  they  were  employed 
as  sculptors  in  Spain  along  with  the  Gaggini  and  with  members  of 
the  Delia  Scala  family,  who,  again,  were  natives  of  Carona.  The 
close  relations  between  Genoa  and  Spain  resulted  in  important  and 
frequent  commissions  for  the  sculptors  who  flourished  in  Liguria. 

We  find  Gaspare  della  Scala  in  Genoa  up  to  the  year  1 494,  and 
there  he  carved  two  doors  for  the  Sauli  family.  The  Molinari 
also  worked  with  the  Della  Scala,  all  of  them  occupied  upon  various 
undertakings  at  Savona. 

The  Sormano  family  came  originally  from  Osteno,  and  the  oldest 
member  of  it  decorated  with  sculpture  the  sacristy  of  the  Collegiata 

deH'Assunta  at  Pra,  near  Voltri, 
in  1430.  Pace  Sormano,  for  the 
execution  of  several  pieces  of 
sculpture,  entered  into  partnership 
with  that  fanciful  sculptor  Niccolo 
da  Corte,  the  author,  in  1 530,  of 
the  baldacchino  over  the  altar  of 
San  Giovanni  Battista  in  the 
cathedral  of  Genoa  (Fig.  404). 
It  was  also  in  the  fifteenth  century 
that  the  De  Aria  or  De  Oria 
family  came  down  to  Genoa  from 
the  Valsolda,  and  before  long 
we  find  Michele,  Giovanni,  and 
Bonino  at  work  decorating  the 
churches  and  the  streets  of  Genoa 
and  of  Savona.  Michele,  who  was 
also  an  architect,  carved,  between 
{Phoio.  Noack.)  1466   and    1490,   four  statues  for 

the  Palazzo  di  S.  Giorgio.  But 
the  work  that  has  brought  him  most  fame  is  the  tomb  of  the  parents 
of  Sixtus  IV.  in  the  Sistine  chapel  at  Savona.  After  that  he  had 
recourse,  in  the  execution  of  the  Adorno  monument  in  S.  Girolamo  di 
Quarto,  to  the  assistance  of  Girolamo  da  Viscardo,  a  sculptor  whose 
graceful  work  also  found  favour  in  France. 

Many  of  the  Lombard  sculptors  were  at  the  same  time  architects, 
as,  for  example,  Rocco  Lurago,  whose  imposing  yet  elegant  work  has 
been  often  confused  with  that  of  Galeazzo  Alessi.  To  him  we  are 
indebted  for  the  famous  Doria-Tursi  palace,  now  the  Palazzo 
Municipale  (I  590,  Fig.  406),  where  he  was  assisted  by  his  brother 

236 


FIG.    402. — INTERIOR    OF    THE    CATHEDRAL 
OF    S.    LORENZO,    GENOA. 


SCULPTURE    AND    ARCHITECTURE    IN    LIGURIA 


FIG.    403. — PALAZZO    DI    S.    GIORGIO,    GENOA. 

{Photo.  Alinari.) 


Giovanni,  and  by  Giacomo 
and  Pietro  Carlone,  mem- 
bers of  a  family  that  came* 
originally  from  the  Val 
d'Intelvi — a  prolific  family 
that  maintained  its  high 
artistic  standard  for  fully 
three  centuries.  Among 
its  most  distinguished  mem- 
bers were  Michele,  who 
was  at  work  between  1 497 
and  1 520,  and  Taddeo, 
who  died  in  1613.  The 
latter  was  the  author  of 
the  church  of  S.  Pietro 
in  Banchi,  the  decorative  part  of  Nostra  Signora  della  Misericordia 
near  Savona,  the  fountains  before  the  Palazzo  Doria  di  Fassolo  in 
Genoa,  and  the  doorway  of  the  Palazzo  de  Ferrari  (Fig.  408). 

Superior  to  all  the  others,  both  on  account  of  their  number  and  of 
their  high  attainments,  were  the  Gaggini,  some  of  whom  passed  from 
Genoa  to  Sicily,  which  is  indebted 
to  them  for  many  works  of  distin- 
guished merit. 

Notable  examples  of  their  work 
survive  in  every  style,  from  the 
grace  of  the  early  Renaissance  to 
the  classicism  of  the  late  cinque- 
cento;  from  the  Baroque  that  fol- 
lowed this  (Giacomo  and  Giuseppe) 
to  the  correct  neo-classicism  of 
Canova's    day    (Giuseppe,    1791- 

1867). 

The  founder  of  the  family  may 
be  held  to  be  Domenico  di  Pietro 
(died  1 492), who  came  from  Bissone 
in  the  Lugano  district  and  was 
already  in  Genoa  by  1 448  ;  here  he 
took  up  his  abode  and  opened  a 
workshop  ;  hither  he  summoned  his 
relations  and  began  and  completed 
many  rich,  graceful,  and  delicate  works,  at  a  later  date  passing  on 
to  other  tasks  at  Naples  and  in  Sicily.     His  most  important  work, 

237 


FIG.    404. — BALDACCHINO    OVER    THE 
ALTAR      OF      S.       CIOVANNI,       CATHEDRAL, 

GENOA.     {Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


FIG.    405. — CHAPEL    OF    S.    GIOVANNI, 
CATHEDRAL,      GENOA.       {PholO.     AHtiart.) 

Republic    to    Andrea    Doria. 


however,  is  at  Genoa,  the  design  of 
the  chapel  of  S.  Giovanni  Battista 
in  the  cathedral  (Fig.  405),  a  work 
carried  out  by  him  with  the  aid  of 
his  nephew  Elia ;  the  latter  had 
shortly  before  returned  from  Udine, 
where,  together  with  Lorenzo  di 
Martino  of  Lugano,  he  had  been 
employed  upon  the  magnificent 
Loggia  Comunale.  After  this  Elia 
found  other  work  to  do  in  Genoa, 
but  he,  too,  finally  departed,  being 
summoned  to  Citta  di  Castello  and 
to  Perugia. 

Meantime,   Giovanni   d'Andrea, 
who  was  at  work  between    1460 
and    1 49 1 ,   built  the  palazzo  that 
was    afterwards   presented    by    the 
Giovanni    di    Beltrame,    known 
as   Bissone  (he  died   after    1 506),   introduced   into  Genoa   those 
carved  portals,  richly  decorated  with  ornaments  and  with  figures 

the  favourite  subject  for  which  was 
St.  George  slaying  the  dragon,  as 
in  that  of  the  Palazzo  Danovaro 
(formerly  Doria).  Giovanni's  brother 

Pace   (1450?- 1522?,    Figs.   407, 

409)  was  also  employed  at  the 
Certosa  of  Pavia,  and,  along  with 
Antonio  della  Porta,  known  as 
Tamagnino,  received  commissions  for 
France  and  for  Spain,  especially  for 
Seville,  in  which  city  may  also  be 
found  sculptures  by  Bernardino 
Gaggini,  who  flourished  between 
1513  and  1544. 

In  the  face  of  this  stream  of  artists 
who  descended  upon  Genoa  from 
the  heights  of  northern  Italy,  one 
must  not  overlook  a  few  men  who 
approached  her  from  the  other  side, 
from  Tuscany  more  especially.  Matteo  Civitali  and  Andrea  San- 
sovino  produced  a  number  of  beautiful  statues  for  the  chapel  of 

238 


FIG.    406. — PALAZZO    DORIA-TURSI, 
GENOA.   EXTERIOR.    {Photo.    AlittaH.) 


SCULPTURE    AND    ARCHITECTURE    IN    LIGURIA 


FIG.    407. — STATUE    OF 

FR.    LOMEI.LINI,    PALAZZO    DI 

S.    GIORGIO,    GENOA. 


San  Giovanni  Battista  in  the  cathedral ; 
Giovan  Angiolo  Montorsoh,  the  wander- 
ing friar  who  scattered  his  works  over 
half  Italy,  has  left  us  in  Genoa  the 
magnificent  Palazzo  Doria  a  Fassolo 
(Fig.  4 1 0),  to  say  nothing  of  the  internal 
decoration  of  S.  Matteo  (Fig.  411);  in 
this  latter  work  he  had  the  assistance  of 
the  Bergamasque  architect  Gian  Battista 
Castello  (1509-1579?),  who  buih  the 
Palazzo  Imperiale  (Fig.  4 1 2)  and  finally 
went  to  Spain  on  the  invitation  of 
Philip  II.  After  the  great  sack  of 
Rome,  Perin  del  Vaga,  the  lively  Floren- 
tine decorator,  appeared  in  Genoa  ;  here 
in  the  Palazzo  Doria  a  Fassolo  he  achieved 
his  most  important  work,  one  of  the  most 
splendid  examples  of  the  Raphaelesque 

style  of  decoration,  a  combination  of  stucco  reliefs  and  of  paintings 
of  "histories"  and  of  grotesques  (Fig.  414).  Nor  must  we 
overlook  Gian  Bologna,  who  later  on  executed  some  exquisitely 
graceful  statues  now  in  the  Uni- 
versity. 

But  among  the  many  foreign 
artists  who  flocked  to  Genoa  to 
embellish  the  city,  Galeazzo  Alessi 
is  supreme  ;  he  was  to  Genoa  what 
Sansovino  was  to  Venice,  Palladio 
to  Vicenza,  Michelangelo  and  Ber- 
nini to  Rome. 

Alessi  was  born  at  Perugia  in 
1512,  and  there  he  received  his 
earliest  training  under  G.  B.  Capo- 
rali  and  Giulio  Danti.  It  was  at 
Rome,  however,  and  by  Michel- 
angelo that — so  he  himself  con- 
fesses— the  definite  direction  of  his 
art  was  determined.  On  his  re- 
turn to  the  city  of  his  birth,  he 
found  employment  in  various  under- 
takings, especially  at  the  Rocca  Paolina  (the  castle  built  by 
Paul  III,),  and  after  having  furnished  the  plans  for  several  sacred 

239 


FIG.   408. — DOOR   OF  THE  PALAZZO  DE 
FERRARI,   GENOA.      {Pholo.  AHtian.) 


ART  IN  NORTHERN  ITALY 


FIG.   409. — DOOR   OF  THE   PALAZPIO 
DORIA    IN    THE    VIA    CHIOSSONE, 

GENOA.     {Pholo.  Alinari.) 


buildings,  he  betook  himself  to  Genoa 
in  search  of  better  fortune.  Here,  in 
1549,  we  find  hirh  negotiating  the  con- 
tract for  the  erection  of  the  church  of 
S.  Maria  in  Carignano  (Fig.  413),  to- 
gether with  the  hospital  and  canons' 
residences.  He  also  undertook  the  great 
works  on  the  mole,  and  erected  upon 
the  crescent-shaped  embankment  a  huge 
portico,  in  the  centre  of  which  a  mas- 
sive gateway,  with  three  arches  on 
the  inner  side,  but  only  one  externally, 
flanked  by  two  solid  gate-houses,  gives 
access  to  the  city. 

There  is  reason  to  believe  that  Alessi 
had  already  taken  part  in  the  works 
connected  with  the  enlargement  of  the 
city  of  Perugia ;  certainly  in  Genoa, 
starting  from  the  year  1551,  he  devoted 
himself  to  the  carrying  out  of  the  great 
municipal  scheme  for  the  systematic  re- 
building and  straightening  of  the  Strada  Nuova  (now  the  Strada 

Garibaldi)  ;  it  was  he  who  designed  nearly  all  the  palaces  that  line 

this  famous  street. 

Of  the  buildings  erected  by  Galeazzo  in  Milan  we  have  already 

spoken  (see  p.  168).    His 

journeys    to    Bologna,    to 

Umbria,  to  Pavia,  and  his 

various  lesser  undertakings 

we  must  pass  over.     He 

made  plans  for  the  Escu- 

rial,    but    never    went    to 

Spain.      He   preferred   to 

remain     at    Genoa,     and 

there  he  erected  the  cupola 

of  the  cathedral,  many  new 

palaces,  such  as  the  Cen- 

turione,     the     Sauli,     the 

Cambiaso,     the     Parodi, 

Spinola,    Giorgio    Doria, 

Adorno,  Serra,  etc.,  as  well  as  numerous  villas — for  example,  the 

Cambiaso  at  S.  Francesco  d'Albaro,  the  Scassi  (Fig.  417),  and 

240 


FIG.    410. — PALAZZO   DORIA   A   FASSOLO,   GENOA. 

{Photo.  Alinari.) 


SCULPTURE    AND    ARCHITECTURE    IN    LIGURIA 


FIG.  411. CHURCH  OF  S.  MATTEO, 

GENOA.      INTERIOR.      (Photo.  AHtiari.) 


the  Spinola  at  San  Pier  d'Arena ;  he  was  thus  occupied  up  to 
the  time  of  his  death,  which  occurred  at  the  end  of  the  year  1572. 

It  may  be  said  that  it  was  thanks 
to  Alessi's  activity  that  the  type  of 
the  Genoese  palace  reached  its  full 
development  and  was  fixed  once  for 
all.  It  had  been  a  simple  one  in 
the  hands  of  Montorsoli,  who  was 
contented  to  obtain  any  decorative 
effect  he  sought  for  from  painting 
alone  ;  with  Castello  it  had  become 
in  a  measure  eclectic ;  it  remained 
for  Alessi  to  give  it  precise  and 
definite  character.  Gifted  with  a 
sentiment  for  harmony  and  for  gran- 
deur, he  was  able  to  combine  these 
qualities,  even  amidst  grave  difficul- 
ties, thanks  to  a  happy  disposition 
of  the  constituent  parts  and  to  a 
refined  artistic  taste.  In  accordance 
with     his     means     and     with     the 

locality,  he  could  be  now  sober  and  restrained,  now  profuse  and 
daring.  Certain  it  is  that  on  every  occasion  when,  as  regards 
the  building  itself,  the  spacing  or  the  light,  he  had  full  liberty  for 
the  display  of  his  creative  gifts,   he  produced  true  masterpieces. 

In  S.  Maria  in  Carignano, 
although  closely  following 
Michelangelo's  design  for 
St.  Peter's,  he  succeeded 
in  producing  a  new  effect, 
by  including  the  Greek 
cross  of  the  plan  within  a 
square  ;  the  minor  cupolas, 
again,  do  not  take  the  form 
of  satellites  of  the  central 
dome,  but  rise  independ- 
ently as  Ian  tern- towers. 

Galeazzo,  in  his  palaces, 
generally  placed  above  his 
ground  floor  a  very  lofty 
storey ;  at  times,  however,  between  the  two  we  find  a  storey  of 
less  height ;    and  between  these,  a  string-course  that  projects  con- 

241  R 


— HALL   OF  THE   PALAZZO    IMPERLALI, 

GENOA.     {Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


FIG.    413. S.    MARIA,    CARIGNANO, 

GENOA.     (Photo.  Alinari.) 


siderably.  Above,  the  building  is 
completed  by  a  bold  cornice  and  by 
a  balustrade.  Still  more  character- 
istic are  the  staircases  and  the  halls, 
to  which  access  is  obtained  through 
the  main  doorway,  which  opens  ex- 
actly in  the  centre.  These  noble 
vestibules  compensate  for  the  small 
size  of  the  inner  courts ;  they  serve 
also  to  give  an  air  of  magnificence 
to  the  part  of  the  palace  best  seen 
from  the  narrow  street.  There  is 
a  single  flight  of  stairs  (generally  to 
the  left) ;  in  the  richer  examples 
there  are  two ;  these  stairs  are  re- 
solved into  the  architectonic  scheme 
of  the  peristyle,  and  in  movement 
and  in  variety  of  line  they  add 
Indeed,  the  expedients  adopted  to 
At    times    the    various 


greatly  to  the  scenic  effect 
achieve  this  effect  were  extraordinary 
proprietors  came  to  an  agreement 
that  enabled  the  architect  to  arrange 
their  respective  entrance  halls  upon 
the  same  axis,  obtaining  by  this 
means  a  common  advantage  in  the 
greater  perspective  effect  of  their 
houses. 

Nor,  in  Genoa,  did  the  line  of 
good  architects  come  to  an  end  in 
the  seventeenth  or  the  eighteenth 
century.  Antonio  Rocca,  who  was 
also  a  painter,  has  left  us  in  the 
little  church  of  S.  Torpeto  a  mar- 
vellous example  of  grace  and 
beauty ;  while  the  Comascene, 
Bartolomeo  Bianco,  inherited  from 
Alessi  his  feeling  for  grandeur,  if 
not  his  restraint,  and,  without  de- 
parting from  the  traditional  type, 
he  succeeded  in  enriching  it  with 

some  novel  elements  ;  this  we  may  see  in  the  Palazzo  dell'Universita 
(1628,   Fig.   415),   in   the   Palazzo   Balbi-Senarega  (which  was 

242 


414. FRAGMENT    OF    A    CEILING, 

PALAZZO    DORIA,    GENOA. 

(Photo.  Alinari.) 


SCULPTURE    AND    ARCHITECTURE    IN    LIGURIA 


enlarged  in  the  eighteenth  cen- 
tury by  Pier  Antonio  Corradi), 
and  in  the  Palazzo  Durazzo 
Pallavicino ;  to  this  last  palace 
a  superb  staircase  was  added  by 
Andrea  Tagliafico,  who  found 
work  also  in  the  transformation 
of  the  interior  of  the  Palazzo 
Serra  ;  meanwhile  Gregorio  Pe- 
tondi  erected  the  Palazzo  Balbi ; 
here,  after  overcoming  by  his  in- 
genuity the  difficulties  of  the 
ground,  he  built  an  entrance  hall 
of  great  scenic  effect,  where  the 
staircase  curves  round  to  form  as 
it  were  a  bridge  (Fig.  416). 

The  last  work  of  importance, 
from  an  architectural  point  of 
view,  though  not  the  last  building 

erected  in  Genoa  in  the  eighteenth  century,  was  the  fa9ade  of  the 
Palazzo  Ducale,  which  was  begun  in  I  778  by  Simone  Can  tone 
(1736-1818). 


FIG.    415. HALL   OF  THE   PALAZZO 

DELL'UNIVERSITA,   GENOA. 

{Photo.  Brogi.) 


BIBUOGRAPHY  OF  CHAPTER  XVIII 

F.  BeJdinucci,  Notizie  Jet  professori  del  disegno ; 
G.  B.  Peisseri,  VUe  di  pitiori,  scultori,  archiktli ; 
L.  Pascoli,  Vile  de'  pittori,  scultori  ed  architetti 
moderni ;  G.  P.  Bellori,  Le  vile  del  pittori,  scultori 
ed  architetti  modemi ;  G.  Baglione,  Vile  dei  pitiori, 
scultori,  architetti  ed  intagliatori  del  pontificato  di 
Gregorio  XlII  del  I  572  fino  ad  Urbano  VIII  nel 
1642  ;  Cicognara,  Storia  della  scultura,  iii ;  Venluri, 
Sloria  dell' Arte  italiana;  F.  Alizeri,  Guida  illus- 
trativa  per  la  cittd  di  Genova,  Genoa,  1 876 ;  G. 
Ratti,  Istruzione  di  quanta  pud  vedersi  di  pm  hello 
in  Genova  in  pittura,  scultura  e  architettura,  Genoa, 
1 780 ;  Descrizione  di  Genova  e  del  Genovesato, 
Genoa,  1 846  ;  G.  Cappi,  Genova  e  le  due  Riviere, 
Milan,  1892;  Francois  Girard,  Gines,  ses  environs 
et  les  deux  Rivieres,  Monaco,  1894;  W.  Suida, 
Genua,  Leipsic,  1 909  ;  Saggio  bibliografico  sulla 
Lfgurfa,  Turin,  1899;  C.  Razzi,  Descrizione  delle 
pitture,  sculture  e  architetture  che  trovansi  in  alcune 
cittd  delle  due  Riviere  dello  Stato  ligure,  Genoa, 
1780;  D.  Bartolotti,  Viaggio  nella  Liguria 
maritlima,  Turin,  1 834 ;  G.  Cappi,  La  Cornice, 
Sanremo,  1877  ;  G.  Cappi,  Da  Mentone  a  Genova, 
Milan,  1888;  C.  B.  Black,  The  Riviera,  London, 
1891 ;  Elenco  prowisorio  del  monumenli  nazionall, 
regionali  e  locali  delle  provincle  di  Genova  e  di 
Portomaurizio,  Turia,  1896;  C.  Reynaudi,  Guida 
della    Liguria.    Turin,    1897-1900;    S.    Varni. 

243 


no.   416. — HALL   AND   STAIRCASE, 
PALAZZO  BALBI,   GENOA. 


{Photo.  Alinari.) 


r2 


ART  IN  NORTHERN  ITALY 

Appunti  artltslcl  sopra Levanto,  Genoa,  1870  ;  B.  Fossati,  Taggia  in  Nalura  ej  Arte,  vi,  Milan, 
1 897  ;  Brunengo,  Dhsertazione  sulla  cittd  di  Savona ;  G.  V.  Verzellino,  Delte  memorie  particolari 
dl  Savona,  Savona,  1891  ;  C.  Aru,  Nolizie  sulla  Versilia  in  L'Arte,  ix,  fasc.  vi ;  V.  Podesti, 
Memorie  storiche  di  Sestri  Levanle :  L  'Isola ;  S.  Varni,  Elenco  del  documenti  artistici :  I,  Documenti 
riguardanti  le  art!  della  pillura,  scullura,  architettura  ed  oreficeria  in  Cenova:  II,  Documenti 
riguardanti  varie  opere  d'arte  eseguite  nel  Duomo  di  Genova,  Geneva,  1861  ;  F.  Alizeri,  Notizie 
del  professori  del  disegno  in  Liguria  dalla  fondazione  dell' A ccademia,  Qenoa,  1864-1869;  F. 
Alizeri,  Notizie  dei  professori  di  disegno  in  Liguria  dalle  origini  al  sec.  xvi,  Genoa,  1870-1883; 
R.  Soprani,  Vite  dei  pittori,  scullori  ed  archiletli  genovesi,  Genoa,  I  768  ;  M.  Staglieno,  Appunti 
e  documenti  sopra  diversi  artisti  poco  o  nulla  conosciuti  che  operarono  in  Genova  nel  secolo  xv, 
Genoa,  1870;  L.  A.  Cervetto,  /  Gaggini  da  Bmone,  Milan,  1903;  L.  Filippini,  Elia  Gaggini 
in  L'Arte,  1908,  26  ;  C.  Aru,  Gli  scultori  della  Versilia  in  Bollettino  d'Arte,  1908,  viii  and  xi ;  P. 
Toesca,  Lo  scultore  del  monumento  di  Francesco  Spinola  in  Scritii  di  Storia,  Filologia  ed  Arte, 
Naples,  1908  ;  C.  Cimati,  Gli  artisti  pontremolesi  dal  sec.  xv  al  xix  in  Arch.  stor.  per  le  Provincie 
parmensi,  1895  ;  S.  Vami,  De//e  opere  di  Nicold  da  Corte  e  Guglielmo  della  Porta  in  Atti  della 
Sociild  ligure  di  Storia  Patria,  iv  ;  C.  Cesaii,  Genova  e  alcuni  portali  del  400,  Milan,  1908  ;  G. 
Poggi,  Genova,  Palazzo  Bianco,  Museo  di  Storia  e  d'Arte,  Genoa,  1908  ;  F.  Genala,  II palazzo 
di  S.  Giorgio  in  Genova,  Florence,  1 889  ;  A.  Merit  and  T.  Belgrano,  //  palazzo  del  principe 
Doria  a  Fassolo  in  Genova,  Genoa,  1 874  ;  E.  Mella,  Battisteri  di  Agrate,  Conturbia  e  di 
Albenga  in  Alti  della  Societd  dl  Archeologia  e  Belle  Aril  per  la  provincia  di  Torino,  iv,  1883  ; 
P.  Caslellini,  La  basilica  dei  Fleschi  a  S.  Salvalore  dl  Lavagna,  Genoa,  1902;  Podesti,  Arte 
antica  nel  duomo  di  Sarzana,  Genoa,  1904;  Neri,  La  cattedrale  di  Sarzana,  Sarzana,  1900; 
T.  Torteroli,  Monumenti  di  pitlura,  scultura  e  architettura  dl  Savona,  Savona,  1848. 


-PALAZZO  SCASSI,    S.   PIER  D'ARENA. 

{Photo.  Noack.) 


244 


FIG.    418. — CEILING    OF   THE   SALA    d'AUTUNNO,    BRIGNOLE-SALE   GALLERY,    GENOA. 

(d.  piola.)     {Photo.  Noack.) 


CHAPTER    XIX 
PAINTING  IN  LIGURIA 
The  Schools  of  Genoa 

The  Genoese  School  of  Painting. — Foreign  Artists  in  Liguria. —  Tacgia. — LcJovico  Brea  and 
His  School. — Group  of  Painters  at  Nice. — Luca  Camblaso. — Rubens  and  Vand))ck  at 
Genoa. — Flemish  Painters  Working  in  the  Citi). —  G.  B.  Paggi. —  The  Piola  Famil)). — // 
Prele  Genovese. — Baciccia. — Minor  A  rtists. 

So  far  we  have  seen  that  with  few  exceptions  Genoa  produced 
neither  sculptors  nor  architects,  and  that  the  examples  of  sculpture 
and  architecture  to  be  found  there  (the  latter,  indeed,  so  happily 
adapted  to  their  position  as  to  create  special  types  dependent  upon 
technical  needs  and  upon  local  exigencies)  are  almost  exclusively 
the  work  of  foreigners.  But  the  same  cannot  be  said  of  painting, 
seeing  that  the  town  has  produced  a  number  of  painters,  and,  what 
is  more  important,  a  true  Genoese  School  arose  there,  though  this  was 
limited  in  scope  and  late  in  origin. 

We  leave  to  others  to  collect  the  earliest  scattered  records,  few 
and  brief,  concerning  the  paintings  executed  in  Liguria  from  the 
twelfth  to  the  fourteenth  century,  more  especially  in  Genoa  and 
Savona,  where  towards  the  close  of  this  period  there  was  a  pre- 
ponderance of  painters  of  Tuscan  origin.  It  is  of  more  importance 
for  us  to  note  that  by  the  fifteenth  century,  as  a  result  of  commercial 
intercourse,  we  find  in  Genoa  a  growing  tendency  to  favour  that 
foreign  school  of  painting  which  under  Flemish  influence  was  spread- 
ing through  Spain,  Germany,  France,  and  Italy,  chiefly  by  way  of 

245 


ART  IN  NORTHERN  ITALY 


the  Rhine  valley.  Innumerable  are  the  paintings,  for  the  most  part 
Flemish,  and  some  of  them  unquestionably  of  value,  that  w^ere 
to  be  seen  in  Genoa  in  the  past :  so  many  were  they,  indeed,  that 
in  spite  of  the  fact  that  the  degenerate  descendants  of  the  original 
purchasers  have  vied  with  one  another  in  finding  a  market  for  them, 
not  a  few  still  remain  in  the  city. 

Some  of  these  foreign  artists  even  took  up  their  abode  in 
Liguria.  Mention  must  be  made  of  Alexander  of  Bruges  and 
of  Justus  of  Ravensburg ;  an  A  nnunciation  (Fig.  419)  by  the 
latter  is  preserved  in  the  cloisters  of  S.  Maria  di  Castello, 
where,  too,  Conrad  of  Germany  decorated  the  vaults  with  frescoes 

of    Sibyls    and    Prophets 
(Fig.  421). 

Conrad  of  Germany 
worked  for  the  most  part  at 
Taggia,  a  pleasant  little 
village  between  San  Remo 
and  Porto  Maurizio.  There 
Domenico  Emanuele  Ma- 
cario  and  Lodovico  Brea 
received  their  art  training 
under  his  guidance,  so  that 
by  some,  Taggia  is  regarded 
as  the  original  home  of 
Genoese  painting.  Others 
give  the  merit  to  Justus  of 
Germany,  and  others,  again 
find  that  in  the  case  of  those 
Ligurian  painters  who  show 
signs  of  Flemish  training  we  must  also  take  account  of  Catalan 
artists,  such  as  Bartolomeo  Rubeus,  who  acquired  their  technique 
and  formed  their  style  in  Flanders,  and  then  carried  what  they  had 
learned  to  the  Mediterranean  coasts — to  Sicily,  to  Naples,  and  to 
Liguria,  where  they  penetrated  as  far  as  the  Monferrato  country. 
Indeed,  there  is  a  triptych  signed  by  Rubeus  in  the  cathedral  of 
Acqui. 

That  Taggia  was  for  long  a  favourite  resort  of  artists  seems 
indubitable.  In  no  other  town  of  Liguria,  except  of  course  in 
Genoa,  can  early  paintings  be  found  in  such  abundance :  it  boasts 
several  precious  works  of  Brea  and  of  his  school,  a  triptych 
attributed  to  Conrad,  a  polyptych  in  the  style  of  Canavesio,  an  altar- 
piece  bj  Macario,  and  another  by  Raffaello  de'  Rossi. 

246 


FIG.    4IQ. — ANNUNCIATION.       (JUSTUS   OF 
RAVENSBURO.)      ' 

Cloister  of  S.  Maria  di  Castello,  Genoa. 
(Photo.  Alinari.) 


PAINTING  IN  LIGURIA 


fig.  420. crucifixion. 

(lodovico  BREA.) 

Palazzo  Bianco,  Genoa. 

{Photo.  Brogi.) 


On  the  other  hand,  while  relations 
with  Tuscan  painters  cannot  have  ceased 
altogether,  many  artists  came  into  Liguria 
from  Piedmont,  among  them  the  already- 
mentioned  Mazone,  Jacopo,  his  father, 
Galeotto  Nebea  (at  work  1497-1518), 
and  Luca  Baudo  of  Novara ;  others 
came  from  Lombardy  (especially  after 
the  time  when  the  republic  had  placed 
itself  under  the  protection  of  Filippo 
Maria  Visconti),  notably  Montorfano, 
Carlo  Braccesco,  known  also  as  Carlo 
del  Mantegna,  Lorenzo  de'  Fazoli,  Do- 
nato  Bardo  of  Pavia  (Fig.  422),  and, 
before  any  of  these,  the  strenuous  Foppa, 
who  was  employed  at  Genoa,  at  Rivarolo, 
and  at  Savona  on  several  occasions  after 

1478. 

Was  it  indeed  possible  that  the  local 
painters  could  have  resisted  the  fascina- 
tion of  Foppa's  pictures  ?      Brea's  collaboration  with  him  in  the 
triptych  at  Savona   (1490)   is  not  likely   to  have  been  without 
results. 

Macario,  a  native  of  Pigna,  a  village  on  the  western  Riviera, 

was  a  Dominican  friar,  at- 
tached to  the  convent  of  S. 
Maria  della  Misericordia  at 
Taggia.  He  was  alive  and 
at  work  until  after  1  522,  but 
as  an  artist  he  belongs  to  the 
fifteenth  century. 

A  notable  group  of  artists 
flourished  at  Nice,  among 
them  Giacomo  Duranti  (who 
painted  an  altar-piece  for  the 
island  of  Lerins,  off  the 
coast  of  Provence,  in  1 454), 
Giovanni  Miralieti,  and  the 
members  of  the  famous  Brea 
family,  including  Lodovico 
(1458?-!  5 1 9,  Fig.  420),  Antonio,  his  son  (at  work  1504-1545). 
and  Francesco  (at  work  1 530-1  562,  Fig.  423),  who  was  either  his 

247 


FIG.    421. — CEILING    OF    THE    CLOISTER    OF    S.    MARIA 
DI    CASTELLO,    GENOA.       (cONRAD    OF    GERMANY.) 

(Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


2. CRUCIFIXION. 

PAVESE.) 

Gallery,  Savona. 
{Photo.  Alinari.) 


(bardo 


son  or  his  nephew.  Among  the  artists 
of  Nice,  Loaovico  takes  a  prominent 
position,  due  to  the  superior  refinement 
of  his  figures  and  to  the  vivacity  of  his 
colouring.  These  men  were  followed 
by  Teramo  Piaggia  of  Zoagli  and  by 
Antonio  Semini  (1 525-1  591 ,  Fig.  424), 
the  first  a  timid  painter,  held  in  the 
bonds  of  tradition,  the  second  eagei  to 
change  his  style  and  to  advance  in  the 
manner  of  Pier  Francesco  Sacchi  of 
Pavia,  and  above  all,  in  that  of  Perin 
del  Vaga. 

Luca  Cambiaso  (1527-1585,  Fig. 
425),  was  the  greatest  among  the  artists 
of  Genoa,  a  man  who  was  so  precocious 
as  to  have  mastered  his  art  at  the  age 
of  fifteen,  and  so  rapid  in  execution 
that  he  was  believed  to  paint  equally 
well  with  either  hand.  Fervently  devoted  to  his  art,  he  did  not 
disdain  to  listen  to  the  teaching  of  Alessi  and  to  that  of  his  friend 
G.  B.  Castello ;  the  latter  we  have  seen  as  an  architect  (pp.  239 
and  241),  but  he  was  at  the  same  time  a  painter  of  refinement  and 
distinction  ;  like  Luca,  he  was  employed  in  the  Escurial.  Eager  to 
know  everything  and  to  attempt 
everything,  Cambiaso,  when  already 
well  advanced  in  years,  went  to 
Florence,  to  Rome,  and  to  other 
cities  to  study  the  most  famous  works 
of  the  heroes  of  the  Renaissance. 
His  drawings,  too,  which  are  to  be 
found  in  abundance  in  all  the  great 
collections,  have  been  admired  for 
the  rapidity  of  their  execution  and 
their  dexterity;  but  their  manner- 
isms, due  to  an  excessive  use  of  an- 
gular strokes  and  of  calculated  fore- 
shortenings,  are  more  conspicuous 
than  their  spontaneity  and  truth.  In 
some  of  his  paintings,  on  the  other 
hand,  Cambiaso  attains  to  a  high  level  of  excellence,  thanks  to 
the  grandeur  of  his  composition,  the  well-balanced  vigour  of  his 

248 


riG.    423.— POPE    S.    FABlAiN. 
(FRANCESCO    BREA.) 


PAINTING  IN  LIGURIA 


riG.    424. MARTYRDOM    OF    S.    ANDREW. 

(a.    SEMINI.) 
S.  Ambrogio,  Genoa.    {Photo.  Alinari.) 


chiaroscuro,  the  beauty  of  his  colour, 

and  the  dignity  of  his  figures.    The 

Paradise   that   he   painted    in   the 

Escurial  was  greatly  admired,  but 

modem  critics  find  in  it  much  that 

is  unequal  and  a  weakness  due,  no 

doubt,  to  the  state  of  his  mind  at 

this  time,  when,  having  lost  all  hope 

of  marrying  the  lady  with  whom  he 

was  passionately  in  love,  Cambiaso 

fell    into    a    state   of    languor   and 

decline. 

Among  the  artists  who  flocked  to 

Genoa  at  this  period  were  Valerio 

Corte    (1520-1580),    a    native    of 

Pavia,  who  brought  the  manner  of 

Titian   from   Venice,    and   his   son 

Cesare  (1550-1613),  who  followed 

Cambiaso,  and  assimilated  his  delicacy  and  fine  colour.     Bernardo 

Castello  (1557-1644)  was  more  akin  to  the  school  of  Bergamo; 

intoxicated  by  the  plaudits  of  the  most  famous  poets  of  his  day,  he 

fell  into  a  hasty  and  facile  style ;    he  was,  however,  not  without  a 

feeling  for  grace  and  a  happy  gift  of  invention,  as  we  may  see  in  his 

illustrations  to  the  Gerusalemme  liherata,  which  found  favour  with 

Tasso  himself. 

But  the  school  founded 
by  Castello,  and  indeed 
the  art  of  Genoa  as  a 
whole,  would  at  this  point 
have  been  in  danger  of 
perishing  had  not  a  fresh 
wave  of  beneficent  foreign 
influence  come  to  give  it 
renewed  vigour.  From 
every  side  artists  of  sterling 
merit  flocked  to  the 
wealthy  and  superb  queen 
of  the  Ligurian  coast.  As 
early  as  1595  Federico 
Barocci  had  enriched  the 

town  with  the  Crucifixion  which  he  painted  for  the  Doge  Matteo 

Senarega.    Later  on  we  find  here  Sofonisba  Anguissola  of  Cremona 

249 


fig.  425. — presentation  in  the  temple. 

(cambiaso.) 

Church  of  S.  Lorenzo,  Genoa.     {Photo.  Noack.) 


ART  IN  NORTHERN  ITALY 


FIG.  426. — ANNTNC  lATION".    (o.  LOMI.) 

Gallery,  Turin.     {Photo.  Alinari.) 


(see  p.   190),  who  brought  her  fellow-artists  together  at  pleasant 
gatherings,  and  Agostino  Buonamici,  known  as  Tassi,  a  talented 

landscape-painter  (he  was,  indeed,  the 
master  of  Claude  Lorrain),  although 
a  man  of  evil  reputation.  But  of  the 
Italians  who  came  to  Genoa  the 
greater  number  were  from  Tuscany ; 
from  Siena  came  Ventura  Salimbeni, 
Ottavio  Ghissoni,  and  Pietro  Sorri, 
a  native  of  S.  Gusme,  near  Castelnuovo 
Berardenga,  and  an  imitator  of  Andrea 
del  Sarto ;  from  Pisa,  Cristoforo 
Roncalli,  known  as  Pomarance,  from 
the  place  of  his  birth ;  to  say  nothing 
of  Simone  Balli,  a  Florentine,  a  refined 
imitator  of  the  same  Andrea ; 
Balli's  master,  Aurelio  Lomi,  and 
finally  the  latter's  brother  Orazio, 
known  as  Gentileschi  (Fig.  426),  an 
artist  so  original  in  his  composition 
and  pleasing  in  his  execution  that  his 
works  were  in  demand  not  only  in  France,  but  in  Spain  and  in 
England  also. 

For  the  rest,  the  Genoese  artist,  Gian  Battista  Paggi  (1554- 
1627),  a  cultured  and  many-sided  man,  derived  from  the  art 
of  Florence  principles  of  severity  and,  above  all,  accuracy  of 
drawing ;  at  the  instigation  of  his  father  he  had  made  himself 
master  of  the  most  disparate  arts— of  painting,  of  sculpture,  of 
music,  of  fencing,  and  of  horsemanship.  As  an  artist  his  first 
master  was  Luca  Cambiaso ;  but  when,  later  on,  he  was  banished 
from  Genoa  under  penalty  of  death,  for  having,  after  long 
provocation,  slain  a  fellow-citizen,  he  made  his  appearance  at 
Florence  after  a  period  of  wandering.  There  he  gained  the  favour 
of  the  court  and  became  a  friend  of  Gian  Bologna ;  and  there  he 
carried  out  important  works  for  S.  Maria  Novella,  for  the  Monastero 
degli  Angioli,  for  the  Annunziata  Church,  and  for  other  places. 
Paggi  remained  in  Florence  for  at  least  twenty  years,  that  is  to  say, 
until  1 599,  in  which  year  he  was  enabled  to  return  to  Liguria, 
settling  first  in  Savona  and  then,  a  few  years  later,  in  Genoa. 

Meanwhile  two  artists,  whose  genius  could  not  fail  to  exercise  an 
extraordinary  influence,  made  their  appearance  in  Genoa  :  Peter  Paul 
Rubens  and  Antony  Vandyck.     Rubens  visited  the  town  in  the 

250 


PAINTING  IN  LIGURIA 


summer  of  1608,  and  painted  some  portraits  full  of  life,  as  well  as 
some  sacred  and  genre  subjects ;  he  made  architectural  drawings, 
too,  of  several  of  the  palaces,  which  he  published  later  on  at 
Antwerp.  Vandyck  visited  Genoa  in  the  autumn  of  1 62 1 ,  and 
returned  later  on ;  he  painted  nearly  fifty  pictures  in  the  city, 
among  them  a  series  of  superb  portraits,  notable  for  their  beauty 
of  design,  of  execution,  and  of  sentiment.  But  these  two  were  not 
the  only  Flemish  painters  who  visited  Genoa.  Many  of  the  pupils 
of  Rubens,  of  Jordaens,  of  David  Teniers  the  elder,  and  of  Frans 
Snyders,  taking  advantage  of  the  commercial  relations  between  the 
two  countries,  and  attracted  by  the  reputation  that  the  upper  classes 
of  Genoa  had  acquired  as  eager  lovers  of  art  and  of  splendour, 
flocked  to  the  town ;  some  of  them  even  took  up  their  abode  there. 
There  was  at  the  time  an  abundant  demand,  not  so  much  for  works 
of  sacred  art  as  for  decorative  paintings  for  the  adornment  of  rooms 
in  the  palaces,  and  for  subjects  of  genre,  battle-pieces,  animals, 
landscapes,  and  portraits.  The  activity  of  this  group  of  Flemish 
painters  (among  them  we  find  a  few 
Frenchmen,  such  as  Simon  Vouet, 
and  a  few  Germans,  such  as  Gottfried 
Wals)  continued  at  Genoa  for  about 
twenty  years ;  for  less  time,  perhaps, 
than  in  other  parts  of  Italy,  as  at 
Parma,  Florence,  and  above  all,  in 
Rome ;  but  the  phase  was  more 
intensive  and  more  productive,  and 
this  probably  for  the  reason  that  in 
the  Ligurian  capital  the  Northern 
artists  had  not  to  overcome  the  re- 
sistance of  flourishing  local  schools 
and  of  weighty  traditions. 

The  Genoese,  too,  for  that  matter, 
went  to  Florence,  and  to  Rome, 
and— in  this  following  in  the  steps  of 
the  Bolognese  masters — to  Parma, 
where  Correggio's  masterpieces  were 
to  be  seen  in  all  their  glory ;  but  on 
their  return  to  their  home  the  vivacity 
of  the  Flemish  painters  finally  drew 
them  within  their  orbit.  Paggi  him- 
self, though  trained  in  the  severe  school  of  Florentine  draughtsman- 
ship, became  in  the  end  an  admirer  of  Rubens,  of  Vandyck,  and 

251 


FIG.    427.  —FRESCO.       (g.    BENSO.) 

Church    of    the    .Annunziata    del 
\astato,  Genoa.     (Pholo.  Xoack.) 


ART  IN  NORTHERN  ITALY 


of  the  others ;  he  lauded  their  works  and  sought  their  acquaintance ; 
pointing  the  way  as  it  were  to  his  own  pupils  and  followers,  who  thus 
came  to  form  an  intermediate  school  between  the  restrained  and 
finished  style  of  the  cinquecento  painters,  and  the  approaching 
ierribilita  of  the  Naturalists.  To  this  group  belong  Castellino 
Castello  (1  579-1649),  who  was  so  successful  a  portrait-painter  as  to 
win  the  praise  of  Vandyck,  and  Giulio  Benso  (1601-1668),  who 
abandoned  figure  subjects  to  devote  himself  to  architectural  and 
"perspective"  pieces,  which  he  treated  with  great  success,  as  we 
may  see  in  his  fresco  at  the  Annunziata  del  Vastato  (Fig.  427), 
where,  close  by,  Andrea  Ansaldo  (1584-1638),  his  great  rival  in 
architectural  painting,  frescoed  a  cupola,  which  shows  that  while  he 

was  a  follower  of  Cambiaso 
he  had  enriched  his  palette 
with  the  golden  tints  of 
Rubens.  Other  members 
of  this  school  are  Domenico 
Fiasella,  known  from  the 
place  of  his  birth  as  Sarzana 
(1589-1669),  an  artist  full 
of  poetry  and  of  repose, 
prompt  and  eager  both  in 
conception  and  in  execution, 
but  not  less  so  in  imitating 
the  works  of  others,  and 
Francesco  Capurro,  who, 
on  passing  to  Modena, 
abandoned  the  style  of  Fia- 
sella and  adopted  that  of 
Ribera.  Gregorio  de  Ferrari,  too,  was  a  disciple  of  Fiasella,  but 
before  long  he  took  to  exaggerating  the  manner  of  Piola,  and  became 
a  fervid  devotee  of  Correggio,  not  always  imitating  the  best  and 
sanest  elements  of  that  artist's  work,  with  the  result  that  his  pictures 
are  at  times  incorrect  and  confused.  On  the  other  hand,  in 
Valerio  Castello  (1625-1659,  Fig.  428),  the  son  of  Bernardo,  we 
have  an  artist  who  also  began  as  an  imitator  of  Fiasella,  but  who 
found  in  Correggio,  in  Procaccini,  and  in  Vandyck  elements  of 
colour  with  which  to  give  additional  animation  to  those  artistic  gifts 
of  his  own  which  are  manifested  in  his  brilliant  frescoes  in  S.  Marta 
at  Genoa. 

Capellino    was    the    artistic    progenitor    of    the    Piola    family : 
Pellegro  (161  7-1640),  whom  a  violent  death  at  the  age  of  twenty- 

252 


FIG.    428. — RAPE   OF   THE    SABINES.       (v.    CASTELLO.) 

Uffizi,  Florence.     {Photo.  Perazzo.) 


PAINTING  IN  LIGURIA 


FIG.    42Q. — CEILING   OF  THE   SALA   DI 
PRIMAVERA.       (g.    DE    FERRARI.) 

Brignole-Sale  Gallery,  Genoa. 
(Pholo.  N^vack.) 


three  prevented  from  developing  the 

gifts   that  are  revealed   in   his  rare 

pictures,  v^as  an  imitator  of  Andrea 

del  Sarto  ;  his  works  show  taste  and 

accuracy;    Domenico  (1628-1  703, 

Fig.  418)  had  sentiment  and  grace, 

but  his  composition  is  commonplace, 

his  effects  of  light  are  over-insistent, 

and  his  pictures  are  crowded  with 

unimportant  details.    Domenico  had 

three  sons   (Paolo  Girolamo — Fig. 

431 — Antonio,  and  Giovanni  Bat- 

tista)  and  a  nephew  (Domenico  the 

younger)   who   were  painters ;    but 

of  these,  as  we  shall  see,  Paolo  alone 

is  of  importance. 

A  higher  level  was  reached  by 

the    artists    who    issued    from    the 

school    of    Pietro    Sorri    (1556-1622).     He    was    the    master    of 

Giovanni  Andrea  Carlone  (1591?- 1630,   Fig.   430),   a  talented 

decorator,  who  at  a  later  date,  along  with  his  brother  Giovanni 

Battista,  received  instruction  from 
Passignano,  the  father-in-law  and 
master  of  Sorri.  Of  Giovanni,  Lanzi 
writes  that  he  was  endowed  "with 
a  genius,  unsurpassed  in  his  day,  for 
the  treatment  of  historical  subjects, 
that  his  drawing  is  accurate  and  full 
of  grace,  that  the  expression  he  gave 
to  his  figures  is  penetrating  and 
judiciously  determined,  above  all,  that 
as  a  fresco-painter  his  colour  is  of 
rare  merit." 

Giovanni  Battista  (1595  ?- 1680), 
who  died  at  a  great  age,  was  not 
inferior  to  his  brother.  He  worked 
along  with  him  in  the  Annunziata 
del  Vastato — the  beautiful  three- 
aisled  church  restored  by  Giacomo 
della  Porta  in  1  587 — and  there  they 

carried  out  one  of  the  grandest  schemes  of  pictorial  decoration  of 

the  seventeenth  century,  a  scheme  rich  in  composition,  varied  and 

253 


FIG.    43c. — CEILING    IN    THK 
BRIGNOLE-SALE   GALLERY,    GENOA. 
(G.    A.    CARLONE.)       (PholO.  Noock.) 


ART  IN  NORTHERN  ITALY 


their  tasks  with  rare 
gence    and    sagacity, 


FIO.  431. — THE  SUPPER  AT  EMMAUS.      (P.   G.   PIOLA.) 

Palazzo  Bianco,  Genoa. 


animated  in  the  highest  degree  in  the  play  of  the  figures,  of  the 
light,  and  of  the  colours.     The  two  brothers  (Giovanni  Andrea 

more  especially)  executed 

dili- 

and 
successfully  accomplished  a 
vast  amount  of  work  in 
churches,  palaces,  and 
houses  in  Genoa  and  in 
other  places  in  Liguria ; 
they  even  worked  in  Milan, 
where  they  have  left  an  im- 
pressive Elevation  of  the 
Cross  on  the  vault  of  S. 
Antonio  Abbate. 

The  other  distinguished 
pupil  of  Sorri  was  Bernardo 
Strozzi  (1581-1644,  Fig. 
432),  known  also  as  the  Cappucino  Genovese  and  still  more  often  as 
the  Prete  Genovese ;  it  was,  however,  but  for  a  short  time  that  he 
remained  faithful  to  his  teaching,  for  having  seen  some  examples 
of  the  arrogant  naturalism  of  Michelangelo  da  Caravaggio,  he  broke 
away  definitely  from  his  early  style.  A  number  of  portraits  full  of  life 
as  well  as  some  genre  pieces  (among  them  the  Beggar  in  the  Roman 
National  Gallery),  now 
scattered  through  the  world, 
have  ensured  his  reputation 
as  an  artist  of  exceptional 
vigour,  not  always  free  from 
coarseness  and  vulgarity.  It 
is  impossible  to  judge  him 
as  a  decorative  fresco- 
painter  out  of  his  native 
city,  where  the  work  that 
he  carried  out  in  certain 
palaces  and  churches  gives 
proof  of  a  novelty  of 
general  conception,  com- 
bined with  vigorous  yet 
harmonious  colour.     Weary 

of  the  limitations  imposed  upon  him  by  the  habit  of  his  order,  he 
attempted  to  throw  off  the  bonds  of  the  cloister,  donning  the  dress 

254 


FIG.   432. CHRIST   AND    THE    PHARISEES. 

(BERNARDO    STROZZI.) 

UflSzi,  Florence.     {Photo.  Perazzo.) 


PAINTING  IN  LIGURIA 


FIG.  433 


portrait  of  clement  dc. 
(baciccia.) 
Accademia  di  S.  Luca,  Rome. 
{Photo.  Anderson.) 


of  a  secular  priest.     His  superiors,  however,  after  tolerating  this 

for  some  time,  succeeded  in  getting  him  into  their  hands  again,  and 

in  retaining  him  as  a  prisoner  for 

several  months.     Having  made  his 

escape,  he  betook  himself  to  Venice. 

There  he  died,  deeply  regretted  by 

his   admirers   and   by   the  disciples 

vv^hom  he  had  left  behind  him  in 

Genoa.     (See  above,  p.  81.) 
Among    these   disciples   mention 

must  be  made  of  Giovanni  Andrea 

de' Ferrari  (1598-1669,  Fig.  429), 

an  imaginative  and  powerful  painter, 

whose  colour,  however,    was   often 

dull  and  turbid ;    and  of  Giovanni 

Bernardo  Carbone  (1614-1683),  a 

follower  of  Vandyck  who  painted 

portraits  with  character  and  expres- 
sion (Fig.  435). 

Giovanni    Benedetto    Castiglione 

(1616-1670,   Fig.   436)   has  been 

reckoned  by  some  as  a  disciple  of  Paggi,  regardless  of  the  fact  that 

Castiglione  was  only  eleven  years  old  at  the  time  of  Paggi's  death. 

Like  Ambrogio  Samengo,  Cas- 
tiglione must  have  received  his 
training  in  the  school  of  Giovanni 
Andrea  de'  Ferrari,  whose  ruddy 
tones  he  repeats ;  but  he  attained 
to  a  greater  unity  by  the  study  of 
the  works  of  the  Bassani,  and  to  a 
superior  refinement,  thanks  to  the 
beneficent  influence  of  Vandyck. 
A  prolific  artist  and  of  a  lively 
temperament,  his  favourite  subjects 
were  scenes  of  pastoral  life,  or  if 
he  turned  to  historical  or  Biblical 
themes,  he  chose  those  which  gave 
an  opportunity  for  the  introduction 
of  animals.  During  his  lifetime  he 
also  had  great  success  at  Florence, 
and  at  Rome,  Venice,  and  Man- 
tua ;  but  afterwards  his  numerous 
255 


FIG.  434. PENDENTIVE  OF  THE  CIPOLA 

OF  S.    AGNESE,    PIAZZA    NAVONA, 
HOME.      (baciccia.) 


ART  IN  NORTHERN  ITALY 


FIG.    435. — PORTRAIT.       (G.    B.    CARBONE.) 

National  Gallery,  Rome. 
{Pholo.  Anderson.) 


pictures  were  neglected  and  even  confused  with  the  very  mediocre 
productions  of  his  son  Francesco,  so  that  his  reputation,  which  is 

now  again  on  the  ascendant,  thanks 
to  the  admiration  feh  for  his  en- 
gravings, suffered  an  ecHpse. 

Raffaele  Soprani  is  better  known 
by  his  lives  of  the  Genoese  artists 
than  by  his  work  as  a  painter. 

The  effect  of  the  plague  of 
1657  upon  Genoese  art  and  artists 
can  only  be  compared  with  the 
events  in  Rome  after  the  sack  of 
1  527.  Those  who  survived,  seeing 
all  around  them  solitude,  grief  and 
anguish,  sought  for  solace  and  work 
in  exile.  Among  these  was  Gio- 
vanni Battista  GauUi,  known  as 
Baciccia  ( 1 639-1  709),  whose  pro- 
digious activity  found  a  field  in 
Rome,  whither  various  other  Li- 
gurian  artists  flocked  at  this  period, 
attracted  by  the  fame  of  Pietro 
Berrettini  da  Cortona  and  of  Carlo  Maratta.  Among  them  was 
Domenico  Parodi  (1668-1740),  who  has  left  us  a  decorative 
masterpiece  in  the  saloon  of 
the  Palazzo  Negroni. 

But  we  must  now  turn 
to  Baciccia,  an  artist  formed 
in  the  school  of  Rome, 
where  he  lived  and  carried 
out  works  in  fresco  on  a 
large  scale  ;  in  some  respects 
he  may  be  regarded  as  the 
greatest  of  the  Genoese 
artists.  He  received  only  his 
earliest  training  in  Genoa, 
for  when  only  eleven  years 
old  he  seized  an  opportu- 
nity of  embarking  for  Civi- 
tavecchia and  making  his 
way  to  Rome.  There  he  took  up  his  abode  with  a  French  painter 
who  employed  him  in  making  copies  of  his  pictures.    But  his  career 

256 


FIG.    436. YOUNG    WOMAN   AND    CHILD. 

(g.    B.    CASTIGLIONE.) 

Museo  Nazionale,  Naples.     {Photo.  Brogi.) 


PAINTING  IN  LIGURIA 


may  be  said  to  have  commenced  only  on  the  day  that  the  great  arbiter 

at  that  time  in  art  matters,  Lorenzo  Bernini,  took  him  under  his 

protection.    At  first  he  painted  a  number  of  portraits  and  small  fanciful 

subjects  {quadretti  d'invenzione),  later  on  altar-pieces,  and  then  he 

turned  to  the  decoration  of  cupolas  and  ceilings  (Fig.  434).     The 

greatest  of  his  paintings  is  the  ceiling  of  the  Gesii,  a  work  upon  which 

he  was  occupied  for  at  least  fifteen  years.     Here  he  painted  the 

Triumph  of  the  Name  of  Jesus  with  a  crowd  of  angels  and  of 

saints,  filled  with  ecstatic  joy,  amid  dancing  lights  and  colours,  gilded 

clouds  rising  as  vapour  between  the  architectural  mouldings,  upon 

which  he  represents  them  as  casting 

passing   shadows.      To    waste    time 

upon   a   detailed   search   for  defects 

here  and  there  in  the  rendering  of 

varied    and    difficult    foreshortenings 

would  belittle  the  critic  rather  than 

the  painter.    Baciccia,  of  course,  was 

no  Correggio,  but  no  work  of  its  class 

or  of  its  day  in  Rome  shows  equal 

life  or   gives   equal   pleasure.     The 

Triumph  of  the  Order  of  S.  Frarjcis, 

painted  by  him  subsequently  upon  the 

vault  of  the  SS.  Apostoli,  is  in  many 

respects  inferior.     As  years  went  on 

Baciccia's  talent  declined,  perhaps  as 

a    consequence   of    his    grief    at    the 

suicide  of  his  son,  and  the  death  of 

Bernini,  whose  counsels  he  had  so 

happily  followed.     But  even  at  an 

advanced  age  he  did  some  excellent 

work.     He  was  much  admired  as  a  portrait-painter  and  with  good 

reason.     His  portrait  of  Clement  IX.   is  painted  in   the  style  of 

Velazquez,   and  its  grasp  of  character  and  mastery  of  technique 

make  it  but  little  inferior  to  the  p>ortraits  of  the  great  Spaniard 

(f'^g-433). 

At  the  beginning  of  the  eighteenth  century,  Giuseppe  Palmieri 
(1674-1  740),  an  admirer  of  Castiglione,  showed  talent  as  an  animal- 
painter  ;  but  although  his  colour  was  effective,  he  was  a  bad 
draughtsman.  So  again  Pier  Paolo  Raggi  (1646  ?-1  724),  painter 
of  wild  bacchanalian  scenes,  a  man  of  irascible  temperament,  betrays 
the  influence  of  Castiglione  in  his  work,  and  the  same  may  be  said 
of  Carlo  Antonio  Tavella,  known  as  Solfarolo  (1668-1738),  a 

257  s 


FIG.    437. — FOREST   SCENE   WITH 
PRAYING    HERMITS.       (MAGNASCO.) 

UflBzi,  Florence.     {Photo.  Perazzo.) 


ART  IN  NORTHERN  ITALY 


FIG.    438. NAVIGATION.       (n.    BARABINO.) 

Palazzo  Comunale,  Genoa.      (Photo.  Brogi.) 


native  of  Milan  and  a  pupil  in  that  town  of  Tempesta ;  he  worked 
afterwards  at  Genoa.  Alessandro  Magnasco,  known  as  Lissandrino 
(1681-1742),  is  a  most  lively  and  entertaining  artist;  there  is  a 
charming  vivacity  in  his  little  slim  figures,  drawn  with  rapid  brush 
strokes  against  a  background  of  ruins  and  landscape,  lit  here  and 
there  by  dazzling  gleams  of  light  that  contrast  sharply  with  large 

dark  masses  (Fig.  437). 
But  the  Genoese  school 
was  destined  to  eclipse  for 
a  time,  under  the  most 
conflicting  influences ;  nor 
was  it  in  the  power  of 
the  Accademia  Ligustica 
to  restore  it,  although  dur- 
ing the  nineteenth  century 
this  Academy  produced 
several  artists  of  merit : 
among  painters,  Santo  Ber- 
telli,  who  has  left  us  some 
notable  frescoes,  above  all 
at  Arenzano  ;  and  Niccolo 
Barabino  of  S.  Pier  d'Arena  ( 1 83  1  - 1 89 1 ),  who,  although  established 
in  Florence,  carried  out  many  works  in  Genoa,  in  the  Celesia, 
Pignone,  and  Orsini  palaces,  as  well  as  in  the  Municipio  (Fig.  438)  ; 
among  sculptors,  Santo  Varni  (1807-1885),  a  faithful  and  correct 
adherent  of  the  neo-classical  school ;  and  among  architects,  Carlo 
Barabino  (1  768-1835),  the  designer  of  the  Palazzo  dell' Accademia 
and  of  the  Carlo  Felice  theatre,  which  building,  as  well  as  the 
Villa    Pallavicini    at    Pegli,    was   decorated    by    Michele   Canzio 

(1784-1868). 

BIBUOGRAPHY  OF  CHAPTER  XIX 

F.  Baldinucci,  NoHzie  dei  professori  del  disegno;  G.  B.  Passeri,  Vile  dei  pittori,  scultori  ed 
architetti :  L.  Pascoli,  Vite  di  pittori,  scultori  ed  architetti  moderni :  G.  Baglione,  Vite  dei  pitiori, 
scultori,  architetti  e  intagliatori  del  pontificato  di  Gregorio  XIII  del  1572  firto  ad  Urbano  VIII 
nel  1 6>42  ;  Lanzi,  Storia  Pittorica  '■  l^rmolieff,  Kunstkritische  Siudien :  Berenson,  The  North 
Italian  Painters;  Crowe  and  Cavalcaselle,  A  History  of  Painting  in  North  Italy,  Venluri,  Storia 
dell'arte  italiana,  v :  F.  Alizeri,  Cuida  illustratioa  per  la  citta  di  Genova;  G.  Raib,  Istruzioni 
di  quanto  pud  verdersi  di  piO  hello  in  Genooa  in  pittura,  scultura  e  architettura  \  Descrizione  di 
Genova  e  del  Genovesato  '.  G.  Cappi,  Genova  e  le  due  riviere:  F.  Girard,  Genes,  ses  environs  et  les 
deux  Rivieres;  W.  Suida,  Genua.  Saggio  hibliografico  sulla  Liguria;  G.  Razzi,  Descrizione 
delle  pitlure,  sculture  e  architetture  che  trovansi  in  alcune  citta  delle  due  riviere  dello  stato  ligure', 
D.  Bartolotti,  Viaggio  nella  Liguria  marittima :  G.  Cappi,  La  Cornice ;  G.  Cappi,  Da  Mentone 
a  Genova;  C.  B.  Black,  The  Riviera;  C.  Reynaudi,  Guida  della  Liguria;  S.  Vami,  Appunti 
artistica  sopra  Levanto:  Brunengo,  Di^sertazione  sulla  citta  di  Savona;  G.  V.  Verzellino,  Delle 
memorie  particolari  di  Savona.  V.  Podesta,  Memorie  storiche  di  Sestri  Levante;  L'Isola:  S. 
Varni,  Elenco  dei  document!  artistici.  I.  Documenti  riguardanti  le  arti  della  pittura,  scultura, 
architettura  ed  oreficeria  in  Genova.     II.     Documenti  riguardanti  varie  opere  d'arie  eseguite  nel 

258 


PAINTING  IN  LIGURIA 

Duomo  di  Genooa :  F.  Alizeri,  Notizie  dei  professoii  del  disegno  in  Liguria  dalla  fondazione 
delVAccademia,  F.  Alizeri,  Notizie  dei  profeasori  di  disegno  in  Liguria  dalle  origini  al  sec. 
XVI \  R.  Soprani,  Vite  dei  pittori,  scultori  ed  architetti  genovesi:  M.  Staglieno,  Appunti  e  docu- 
menti  sopra  dioeni  artisti  poco  o  nulla  conosciuli  che  operarono  in  Genooa  nel  sec.  XV;  L.  A. 
Cervetto,  /  Gaggini  da  Bissone:  T.  Torteroli,  Monument!  di  pittura,  scultura  e  architettura  di 
Savona',  G.  Rossi,  Una  Famiglia  di  pittori  in  Liguria  in  Arte  e  Storia,  v,  1886;  G.  Rossi. 
Pittori  piemontesi  nella  Liguria,  Florence,  1891  ;  G.  Bres,  Notizie  intorno  al  pittori  Nicest, 
Gioo.  Miralieti,  Ludovico  Brea,  Bartolomeo  Bensa,  Genoa,  1903  ;  O.  Grosso,  Pittura  genovese 
in  the  Rivista  Ligure,  vi,  1908:  O.  Grosso,  Calalogo  dei  quadri  delle  gallerie  di  Palazzo 
Bianco  e  Rosso,  Genoa,  1909  ;  G.  Rossi,  /  maestri  di  Ludooico  Brea  in  Giomale  ligustico,  xia  ; 

F.  Pellati,  Bartolomeo  Rubeus  e  il  trittico  firmato  della  cattedrale  di  Acqui  in  L'Arte,  x,  1907  ; 
M.  Menotti,  Van  Duck  a  Genooa  in  Archioio  Storico  dell' Arte,  1897;  L.  A.  Cervetto,  // 
quadro  di  Pellegro  Piola  e  la  corporazione  degli  Orefici  in  Rioista  Ligure,  Genoa,  1907; 
A.  Negri,  Domenico  Ubaldini  delto  Puligo  a  Genava  in  Giomale  ligustico,  iv ;  G.  Sforza,  // 
pittore  sarzanese  Domenico  Fiasella  e  la  famiglia  Cybo  in  Giomale  ligustico,  xxi ;  S.  Vami, 
D'una  tavola  di  Franceschino  da  Castelnuooo  Scrtvia  in  Giomale  ligustico,  i;  S.  Vami,  Delle 
opere  eseguite  a  Genooa  da  Silvio  Corsini,  Genoa,  1 868 ;  D.  Sant'Ambrogio,  Un  grandioso 
dipinlo  in  Milano  del  pittore  Benedetto  Castiglione  detto  il  Grechetto,  Milan,  1907  ;  A.  Venturi, 
Niccold  Barabino  in  Nuooa  Antologia,  1891  ;  E.  de  Fonseca,  Niccold  Barabino,  Florence, 
1892;    Dell'arte  del  disegno  e  dei  principali  artisti  in  Liguria  (1777-1862),  Genoa,    1862; 

G.  Campori,  Memorie  biogrufiche  degli  scultori  architetti,  pittori,  etc.  ...  in  Prooincia  di 
Afosm,  Movena,  1873. 


259 


FIG.    439. — RELIEF   ON   THE   FAcADE   OF  THE   CATHEDRAL,    MODENA.       {PholO.   Alinari.) 


CHAPTER    XX 


EMILIA 

Architecture  and  Sculpture  to  the  Time  of  the 
Renaissance 

The  Emilia  Defined. — Relics  of  the  Byzantine,  Romanesque,  and  Gothic  Periods. —  The 
Rise  of  the  Communes  and  the  Religious  Orders. — Piacenza. — CasteW  Arqualo. — Borgo 
San  Donnino. — Parma,  Cathedral  and  Baptistery. —  Cathedral  of  Modena. — Cathedral  of 
Ferrara. —  The  Towers  of  Bologna. — Gothic  Churches  at  Bologna. — Sculpture:  Jacopo 
della  Quercia. 

The  northern  slopes  of  the  Apen- 
nines from  the  River  Trebbia  to 
Rimini,  the  long  and  tortuous  course 
of  the  Po  from  Piacenza  to  the 
sea,  the  Adriatic  from  Punta  della 
Maestra  to  La  Cattolica — these 
are  the  limits  of  the  happy  region 
known  as  Emilia,  from  that  mag- 
nificent road,  wide  and  straight, 
which  traverses  it  for  a  length  of 
more  than  two  hundred  miles,  a 
road  that  was  constructed  by  Marcus 
/Emilius  Lepidus  187  years  before 
Christ,  and  which  even  to-day  passes 
through  walled  towns,  strongholds, 
and  cities  famous  in  history — Pia- 
cenza, Parma,  Reggio,  Modena, 
260 


FIG.   440. — CATHEDRAL,    PIACENZA. 

(.Photo.  Alinari.) 


EMILIA 


Bologna,  Imola,  Faenza,  Forli,  Cesena,  and  Rimini.  Under  the 
name  of  Emilia,  it  is  usual  to  comprise  the  district  of  Romagna, 
a  region  whose  boundaries  have  never  been  sharply  defined,  either 
in  ancient  or  modern  times.  Indeed,  w^hile  Dante,  when  he  declares 
it  to  be  comprised 

"  Fra  il  Po  ed  il  monte,  la  marina  e  il  Reno," 

appears  to  include  within  its  boundaries  both  Ferrara  and  Bologna ; 
at  the  present  day,  restricted  to  the  two  provinces  of  Ravenna  and 
Forli,  it  cannot  even  claim  Imola. 

However  this  may  be,  we  cannot  fail  to  recognise  in  this  land  as 
a  whole  not  only  the  rich  fertility  of  the  soil,  but  a  marvellous  vitality 
in  the  spirit  of  the  inhabitants. 

During  the  whole  of  the  long  period  of  the  Renaissance  theie 
was  in  fact  no  other  region  of  Italy  which  comprised  so  many 
independent  Courts,  each 
**  a  home  of  culture." 
While  Milan,  Venice, 
Florence,  Rome,  and 
Naples  concentrated  the 
intellectual  life  of  a  wide 
surrounding  district,  leav- 
ing the  lesser  cities  to  a 
certain  degree  in  the  shade, 
in  Emilia,  every  centre, 
however  small,  had  its  owti 
Court,  renowned  for  its 
culture  and  for  its  artistic 
importance. 

Of  Roman  monuments, 
in  which  the  district  was  rich,  many  ruins  and  fragments  survive, 
but  apart  from  the  long  and  splendid  bridge  and  the  triumphal  arch 
at  Rimini,  both  dating  from  the  time  of  Augustus,  the  only  remains 
in  a  tolerable  state  of  preservation  are  a  few  unimportant  bridges 
on  the  Via  Emilia.  Among  the  excavations  the  most  important  are 
those  of  the  ancient  city  Velleia,  situated  among  the  hills  of  the 
Piacenza  district,  between  the  Chero  and  the  Arda. 

On  the  other  hand,  for  the  so-called  Byzantine  period,  the  region 
boasts  the  most  conspicuous  city  in  all  Italy,  Ravenna,  a  city  of 
which  we  have  already  spoken,  and  for  the  two  succeeding  periods, 
those  of  Romanesque  and  Gothic  art,  a  vast  number  of  monuments, 
many  of  them  glorious  examples. 

261 


I'lG.    441. FACADE    OF   THE    CHURCH,    POMPOSA. 

(Photo.  Cassarini.) 


ART  IN  NORTHERN  ITALY 


FIG.    442. — PALAZZO    COMLNALE,    PIACENZA. 

(Photo.  Almari.) 


As    in    other    districts,    few    of    these    buildings,    of    course, 
are  of  an  earlier  date  than  the  twelfth  century ;    it  was,  indeed, 

only  in  the  course  of  that 
century  that  life  in  Italy 
attained  to  a  certain  degree 
of  culture,  or  at  least  to  an 
individual  character  and 
form  of  expression.  How- 
ever, we  may  find  in 
Emilia  some  notable  ex- 
amples even  of  the  archi- 
tecture of  that  long  period 
of  preparation  which  ex- 
tended from  the  ninth 
to  the  eleventh  century ; 
S.  Maria  di  Pomposa,  for 
instance,  built  in  the  ninth 
century  (Fig.  441),  with 
a  tower  dating  from  1 063 ;  the  parish  church  of  S.  Leo ; 
S.  Stefano  at  Bologna ;  the  so-called  Palace  of  Theodoric  at 
Ravenna  (see  p.  9),  as  well  as  other  early  buildings.  We  find  little 
evidence  of  oriental  or  other  foreign  influence ;  nearly  everything 
appears  to  be  a  growth  from  early  native  types,  more  especially 
those  of  Ravenna.     It  was  this  continuity  of  development  that  saved 

the  country  from  sudden 
and  incongruous  changes, 
and  favoured  a  slow  and 
gradual  evolution  of  archi- 
tectural forms.  The  terra- 
cotta decorations  of  the 
church  at  Pomposa,  not 
moulded,  but  modelled  by 
hand,  are  identical  with 
those  formerly  in  the  con- 
temporary monastery  of 
S.  Alberto,  nearer  to 
Ravenna,  and  also  with 
those  found  in  Ravenna 
itself,  which  latter  were 
used  as  material  in  the 
palace  that  once  belonged  to  Guido  Novella  da  Polenta  (examples 
of  both   are  now  in   the  city   museum).     In   this   terra-cotta   we 

262 


-CASTLE   AND   CHURCH,    CASTELL'ARQUATO. 

{Photo.  Cassarini.) 


EMILIA 


have  a  product  characteristic  of  Ravenna,  and  one  of  great  interest 
as  illustrating  the  art  of  the  time. 

The  predilection  for  buildings  w^ith  a  central  space  continued  dur- 
ing the  eleventh  century  and  even  to  a  later  date,  w^ith  variations  in  the 
details.  The  use  of  independent  baptisteries  also,  a  practice  that 
had  by  this  time  been  discontinued  in  other  regions,  was  long  retained 
in  Emilia  (as  also  in  Lombardy  and  in  Venetia)  ;  but  in  course  of 
time  even  here  it  gradually  fell  into  disuse,  as  the  practice  of  baptism 
by  immersion  v^as  abandoned,  and  the  baptismal  font  took  its  place 
within  the  cathedral  or  parish  church. 

In  the  meantime,  as  the  communes  and  the  great  communities 
of  the  Franciscans  and  the 
Dominicans  grew  in  strength,  an 
ever-increasing  desire  for  their  em- 
bellishment with  buildings  of  im- 
portance manifested  itself  in  the 
newly  awakened  cities ;  and  in 
every  important  centre  in  the 
Emilian  province  superb  edifices 
arose. 

At  Piacenza,  where  indeed  huge 
churches  such  as  S.  Savino  and 
S.  Antonino  were  already  in  exist- 
ence, the  cathedral  was  begun  in 
1122,  and  finished  a  full  century 
later  (Fig.  440).  On  the  west 
front  four  wall-strips  indicate  the 
division  of  the  interior  into  three 
naves,  access  to  which  is  given 
by  three  doorways,  each  of  which 
is  approached  through  a  porch  of  two  storeys.  Above  the  central 
door  is  a  rose  window ;  above  each  side  door  is  a  gallery  with  an 
arcade  supported  by  small  columns,  similar  to  that  which  runs  along 
the  tympanum  and  follows  its  inclination.  On  the  facade  the  two 
periods  of  construction  may  be  distinguished  by  the  diversity  of  the 
materials ;  so  again  in  the  interior  (in  plan  a  Latin  cross)  the 
Romanesque  style  is  followed  up  to  the  vaulting  of  the  side  aisles, 
in  contrast  to  the  ogival  arches  which  in  the  nave  rise  from  the 
galleries  to  the  higher  central  vault.  The  Palazzo  del  Comune 
(Fig.  442),  founded  in  1 28 1 ,  is  no  less  beautiful  than  the  cathedral. 
The  lower  storey  consists  of  a  marble  portico  of  live  pointed  arches ; 
the  upp>er  storey  is  of  brick  and  is  pierced  by  windows  with  three, 

263 


FIG.    444. — CATHEDRAL,    BORGO 

S.  DONNINO.     {Pholo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


-CATHEDRAL   AND   BAPTISTERY,    PARMA. 

{Photo.  Alinari.) 


four,  and  even  five  lights,  decorated  wfith  superb  terra-cotta  reliefs. 

The  church  of  S.  Francesco  is  of  the  same  date ;    it  is  perhaps 

modelled  upon  the  church 
of  the  same  name  at 
Bologna.  The  Gothic 
architecture  of  these  build- 
ings may,  perhaps,  show 
traces  of  a  foreign  in- 
fluence, which  made  its 
way  into  Italy  more  espe- 
cially with  the  Cistercians ; 
but  this  influence  is  con- 
fined to  certain  constructive 
formulae.  In  fact  the 
Italian  architecture  of  the 
thirteenth  and  fourteenth 
centuries    shows    features 

that  have  little  in  common  with  the  essential  tradition  of  the  true 

Gothic  style,  namely,  the  proportions  between  width  and  height 

in  the  nave,  a  predilection  for  wide 

surfaces  reserved  for  pictorial  deco- 
ration, and  the  use  of  the  simplest 

polygonal  form  of  pilaster. 

Thanks  to  a  charming  group  of 

buildings,  Castell'  Arquato  is  a  very 

oasis  of  mediaeval  architecture  and 

well    deserves    the   name    of    "  the 

Emilian  San  Gimignano."    Crown- 
ing the  hill  on  which  it  stands,  the 

Castle  of  the  Visconti,  the  Palazzo 

Pubblico,   the  church  (Fig.   443), 

and     the    Canons'     residence     are 

mirrored  in  the  Arda,  the  beautiful 

river  that,   lower  down,  runs  close 

to  the  Abbey  of  Chiaravalle  della 

Colomba,  founded   about  the  year 

1135  by  Bernard  de  Fontaine;    of 

this  building  the  three-aisled  church 

with  its  cross-vaulted  roof  and  the  magnificent  fourteenth-century 

cloisters  still  exist. 

Again,  on  the  Via  Emilia,  we  find  Borgo  San  Donnino,  which 

boasts  one  of  the  most  beautiful   Romanesque  cathedrals  of  the 

264 


FIG.    446. — BAPTISTERY,    PARMA. 

(interior.)     {Pholo.  Alinari.) 


EMILIA 


FIG.    447. — CATHEDRAL    AND 
GHIRLANDINA,    MODENA. 

(Pholo.  Alinari.) 


district,  a  building  begun  about  the  year  I  100,  but  carried  on  in  a 
very  leisurely  fashion.  The  exterior  of  the  apse  with  the  open  loggia 
and  the  unfinished  facade  adorned 
with  sculptures  attributed  to  Bene- 
detto Antelami,  are  of  great  interest 
(Fig.  444). 

At  Parma,  in  addition  to  the 
magnificent  cathedral  (begun  in 
1058  and  completed  in  the  thir- 
teenth century),  with  its  vast  cupola 
over  the  crossing  of  the  nave  and 
the  transepts,  and  its  portal  by 
Giovanni  Bono  da  Bissone,  we  have 
one  of  the  largest  and  most  beau- 
tiful baptisteries  in  Italy  (Fig.  445). 
It  was  founded  towards  the  end  of 
the  twelfth  century  ;  externally  it  is 
octagonal,  while  the  interior  has 
sixteen  sides  ;  both  inside  and  out 
it  is  surrounded  by  open  loggias 
(Fig.  446)  ;  it  is  richly  adorned 
on  the  exterior  by  sculptures  attributed  to  Antelami  and  the 
internal  walls  are  covered  with  frescoes  of  the  Romanesque  period. 
The  attribution  of  the  sculptures  both  of  the  cathedral  at  Borgo 

San  Donnino  and  of  the 
Baptistery  at  Parma  to 
Benedetto  Antelami  (see 
p.  234)  is  a  matter  of  dis- 
pute at  the  present  time. 
His  Descent  from  the 
Cross,  however,  which 
once  formed  a  part  of  a 
frieze  in  the  cathedral  at 
Parma  and  bears  the  date 
1  1 78,  points  to  him  as 
a  man  who  was  desirous 
of  rising  above  the  rude 
level  of  his  day. 

At  Reggio  Emilia  and  at  Bologna  the  lines  of  the  Romanesque 
cathedrals  are  smothered  by  the  later  restorations  and  reconstruc- 
tions, but  at  Modena  the  old  building  rises  conspicuously  in  its 
original  grandeur  (Figs.  447,  448).    It  was  begun  by  Lanfranco  in 

265 


FIG.    448. — CATHEDRAL,    MODENA.       {PhotO.    AHtiari.) 


ART  IN  NORTHERN  ITALY 


ilC.    44V.--CAT11EDKAL,    FEKRARA. 

{Photo.  Alinari.) 


1 099,  consecrated  in  1  1 84,  and  completed  at  a  later  date.  At  the 
present  day  it  is  the  most  complete  building  of  the  period  in 
Emilia.       On    the    facade    are    sculptures    by    Wiligelmo    (Fig. 

439),  who  more  than 
seventy  years  before  the 
time  of  Antelami,  eager 
to  make  an  advance  upon 
the  past,  attained  to  a 
certain  decorative  grandeur 
that  places  him  on  a  higher 
level  than  Niccolo,  his 
fellows-workman.  Nor 
must  we  pass  over  the 
pride  of  the  Modenese, 
the  famous  campanile  of 
the  cathedral,  the  Ghir- 
landina,  built  between 
l224andl3l9(Fig.447). 
The  cathedral  of  Ferrara  (Fig.  449),  consecrated  in  I  135,  must 
have  been  even  more  imposing,  but  the  interior  was  only  too 
effectually  modernised  in   1712.     Among  the  earliest  sculptors  we 

again  find  a  Niccolo  and  a  Guglielmo 
or  Wiligelmo,  whom  we  must  hold 
to  be  the  same  men  as  those  who 
worked  at  Modena ;  and  perhaps 
also  in  S.  Silvestro  at  Nonantola, 
another  notable  Romanesque  church. 
But,  subsequently,  the  building  at 
Ferrara  went  on  slowly  for  cen- 
turies, so  that  it  was  not  until  the 
middle  of  the  fourteenth  century, 
at  a  time,  that  is  to  say,  when  the 
Gothic  style  had  triumphed,  that  the 
facade  was  finally  completed  by 
craftsmen,  among  whom  we  may 
recognise  the  sculptor  of  the  portal 
of  S.  Giovanni  Evangelista  at 
Ravenna  (Fig.  450). 

The  group  of  buildings  that 
surround  the  church  of  S.  Stefano 
at  Bologna  (Fig.  451)  is  more  interesting  than  beautiful.  We  have 
here  a  crowd  of  churches,  cloisters,  and  crypts,  deficient  in  grandeur 

266 


FIG.    450, — DOOR    OF    S.    GIOVANNI 
EVANGELISTA,    RAVENNA. 

{Photo.  Alinari.) 


EMILIA 


IIG.  451. — GROUP  OF  CHURCHES  KNOWN  AS 

s.  STEFANO,  BOLOGNA.     {Pholo  dell' Emilia.) 


and  without  sculptural  decoration — buildings  that  have  been  erected, 
pulled  down,  rebuilt  and  tormented  in  every  way.  Nor  do  we 
find  any  important  monuments  of  the  Romanesque  period  in 
Romagna  with  the  excep- 
tion of  the  cathedral  of 
S.  Leo,  which  dates  from 
II  73,  and  part  of  S.  Mer- 
curiale  at  Forh  (Fig.  452), 
which  was  rebuilt  after  a 
fire  which  took  place  in 
that  same  year ;  it  was 
then  adorned  with  a  portal 
on  which  a  Romanesque 
sculptor  carved  an  Adora- 
tion of  the  Magi,  of 
interest  for  the  realistic 
and  rather  comicalattitudes 
of  some  of  the  figures. 

At  Bologna,  however,  more  than  anywhere  else,  the  towers 
— there  were  once  more  than  two  hundred  of  them — are  very 
singular.  Their  construction  goes  back  to  the  communal  period, 
that  is  to  say,  to  the  twelfth  and 
thirteenth  centuries.  The  thickness 
of  the  walls  at  the  lower  part  is  in 
some  cases  greater  than  the  internal 
space.  As  these  walls  ascend  they 
become  thinner,  being  gradually 
reduced  by  several  projections  in- 
ternally and  by  a  single  one  on  the 
outside,  varying  in  form  and  height. 
The  wall  consists  of  two  facings  of 
very  substantial  brickwork,  the  one 
on  the  outside,  the  other  within, 
between  which  an  irregular  mass  of 
pebbles  and  lime  has  been  beaten 
down.  The  base,  which  is  almost 
always  sloping,  is  faced  with  long 
slabs  of  alabaster  from  the  adjacent 
Monte  Donato.  In  addition  to  the 
narrow    doorways    with    lintels    of 

alabaster  supported  by  two  brackets,  over  which  curves  a  blind  arch 
(generally  pointed),   we  invariably  find  on  these  towers  another 

267 


FIG.    452.— S.    MKRCIRIALK,    FOKl.l 

{Pholo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


FIG.  453. — THE  TWO  TOWERS,  BOLOGNA. 

(Photo.  Alinari.) 


opening  at  the  height  of  ten  or 
twelve  metres,  which  no  doubt  com- 
municated with  the  adjacent  houses. 
Finally  the  windows,  few  in  number, 
are  narrow  and  round-headed  (Fig. 
453). 

Bologna  compensates  for  her 
actual  poverty  in  Romanesque 
churches  by  the  numerous  imposing 
buildings  in  the  Gothic  style  which 
were  erected  in  the  thirteenth  and 
fourteenth  centuries.  With  few  ex- 
ceptions— S.  Domenico  and  S. 
Giacomo,  for  example,  which  have 
undergone  changes,  especially  in  the 
inside — these  have  preserved  their 
original  aspect.  There  are  indeed 
many    towns    in    Emilia    possessing 

sacred  and  civil  buildings   where  the  Gothic    style  makes  some 

show,    whether   triumphing   completely   or    superadded    to   earlier 

buildings ;  but  nowhere  else  but  in  Bologna  can  we  find  examples 

that   illustrate   the   continuous   and 

complete  development  of  the  style ; 

from  S.   Francesco,   a  three-aisled 

church  (Figs.  454  and  455),  begun 

in    123d,    under    the    manifest    in- 
fluence    of     French     Gothic,     to 

S.  Martino,  to  S.  Maria  dei  Servi 

— attributed    to    Andrea    Manfredi 

— and  finally  to  S.  Petronio  (Fig. 

456),  the  famous  work  of  Antonio 

di      Vincenzo      (1350  ?— 1401  ?). 

Employed  at  first  on  various  mili- 
tary works  at  the  castles  of  Cento, 

of  Pieve  di  Cento  and  others  in  the 

neighbourhood,   and   on   the  walls 

and  the  gates  of  Bologna,  Vincenzo 

at  length  found  full  scope  for  his 

constructive    abilities    and    for    his 

taste  as  an  artist  in  the  erection  of 

S.  Petronio  and  of  the  Campanile  of  S.  Francesco,  one  of  the 

most   beautiful    towers   in    all   Italy,    an   exquisitely   proportioned 

268 


FIG.    454. — S.    FRANCESCO,   BOLOGNA. 

INTERIOR.     {Photo.  Alinari.) 


EMILIA 


FIG.  4SS- — S.  FRANCESCO,  BOLOGNA. 
(Photo.  dell'Emilia.) 


structure  covered  with  a  graceful  network  of  terra-cotta  decoration 
(Fig.  455).  We  may  also  mention  Fieravante  Fieravanti,  who 
rebuilt  the  Palazzo  Pub-    ,_ , 

blico  (1425-1428,   Fig. 
460). 

Sculpture  in  Bologna  at 
this  time  was  almost  en- 
tirely a  foreign  importation. 
We  find  among  the  sculp- 
tors but  few  names  of 
Bolognese  artists ;  there 
were,  however,  some  Tus- 
cans, and  many  Venetians, 
among  them  the  brothers 
Jacobello  and  Pier  Paolo 
dalle  Masegne  (the  authors 
of  the  great  marble  reredos 
in  S.  Francesco — 1 388-96,  Fig.  459).  The  sculptors  of  the  imposing 
Jind  animated  bas-reliefs  on  the  first  side  windows  of  San  Petronio 
were  Venetians — Girolamo  Barosso  and  Francesco  Dardi. 

But  it  was  a  Sienese  sculptor,  Jacopo  della  Querela,  who  was 

destined  to  bring  the  light  and  the 
warmth  of  the  Renaissance  into 
Bologna.  Jacopo  was  summoned 
to  the  city  in  1425  by  the  Arch- 
bishop D'Arles  and  entrusted  with 
the  decoration  of  the  central  door 
of  S.  Petronio  (Fig.  457).  Already 
famous  for  the  Fonte  Gaia  at 
Siena,  he  carved  in  the  arch  of  this 
doorway  thirty-two  half  figures  of 
Patriarchs  and  of  Prophets  with 
God  the  Father  in  the  centre,  and 
fifteen  subjects  from  the  Old  and 
the  New  Testament  upon  the 
pilasters  and  upon  the  architrave, 
which  he  crowned  with  a  superb 
figure  of  the  Virgin  and  Child 
(Fig.  458).  This  vast  undertaking 
— left  unfinished  by  Jacopo  amidst 
churchwardens,  and  repeated  inter- 
part — remains   the   most 


FIG.    4S6. — S.    PETRONIO,   BOLOGNA. 

INTERIOR.     (Photo.  Alinari.) 


endless    disputes    with    the 
ruptions   and   renewals  of   work   on   his 

269 


ART  IN  NORTHERN  ITALY 


exquisite   work  of   sculpture   in   Bologna,    admirable   both  for   its 
architectural  proportions  and  for  the  novel  energy  with  which  the 

reliefs  are  conceived  and  carried 
out.  It  excited  the  admiration  of 
Michelangelo  when,  still  a  youth, 
he  came  to  Bologna  to  carve  some 
of  the  statues  for  the  shrine  of 
S.  Dominic  and  when,  again,  at 
a  later  date,  he  modelled,  cast, 
and  placed  above  Jacopo's  porch 
the  statue  of  Julius  II.  The  im- 
pressions received  on  these  occasions 
were  not  rapidly  effaced ;  proof  of 
this  may  be  found  in  some  of  the 
compositions  and  figures  in  the 
Sistine  Chapel. 


FIG.   457. — S.   PETRONIO,  BOLOGNA. 

THE  GREAT  DOOR.    (Photo.  AUnari.) 


BIBUOGRAPHY  OF  CHAPTER  XX. 

A.  Venturi,  Storia  deU'arte  Haliana,  iii-v ; 
A.  Venturi,  Unbekannte  und  vergessene  KUnstler 
der  Emilia  in  Jahrbuch  d.  KOniglich.  Preuss. 
Kunstsamml.,  xi,  183;  V.  Marchese,  Memorie  dei 

piii   insignl  pittori,  scullori  e  architelti  domenicani,   Bologna,    1878-79:    A.   Beltramelli,    Da 

Comacchio  ad  Argenta,  Bergamo,  1905  ;  Descrizione  dei  monumenti  e  delle  pillure  di  Piacenza, 

Parma,  1828;    L.  Carabeili,   Guida  at  monumenti  storici  ed  artislici  di  Piacenza,  Lodi,  1841  ; 

L.   Ambiveri,    Gli    artisti    piacentini,    Piacenza,    1 879 ; 

G.  Tiraboschi,  Biblioteca  modenese,  vol.  vi.  Mod.,  1786; 

G.  B.  Venturi,  Notizie  di  artisti  reggiani  non  ricordati 

dal    Tiraboschi,    Modena,     1 883 ;     P.    Donati,    Nuooa 

Descrizione   di  Parma,   Parma,    1 824 ;    G.    ESertoluzzd, 

Guida  di  Parma,  Parma,   1 830 ;    P.  Martini,   Guida  di 

Parma,  Parma,  1871;    J.  Kohte,  Aus  Parma  in  Blatter 

/.   Architektur  und  Kunsthandre'.rk,   1900,    n.  9 :    G. 

Agnelli,  Ferrara  e  Pomposa,  Bergamo,  1 906  ;  A.  Messeri 

and  A.  Calzi,  Faenza  nella  storia  e   nell'arte,  Faenza, 

1909:  G.  Pazi,  Guida  di  Ferrara,  Ferrara,   1875;   A. 

Crespellani,     Guida    di    Modena,    Modena,    1879;     L. 

Vedriani,  Raccolla  de'pittori,  scultori  e  architteti  modenesi 

pm  celebri,  Modena,  1662  ;   L.  Ricci,  Ccrografia  dei  terri- 

tori  di  Modena,  Reggio  ecc,  Modena,  1  788  ;   G.  Bertoni, 

Atlante    storico    paleografico    del   Duomo    di   Modena, 

Modena,  1 909  ;   Luigi  Rinaldi,  Casteloetro  e  le  sue  chiese, 

Modena,  1 909  ;  G.  Bianconi,  Guida  di  Bologna,  Bologna, 

1835;  L.Weber,  Bo/ogna.Leipsic,  1902;  C.  Ricci,  Guida 

di  Bologna,  Bologna,  1 908  :  Pierre  de  Bouchaud,  Bologna, 

Paris,  1 909  ;  E.  Calzini  and  G.  Mazzatinti,  Guida  di  Forti, 

Forli,  1893,  L.  Tonini,  Storia  di  Rimini:  G.  Gozzadini, 

Note  per  studi  sull'architettura  civile  in  Bologna  dal  sec. 

XIII  al  XVI,  Modena,  1877;    L.  Molossi,  Vocabolario 

lopografico  dei  ducati  di  Parma,  Piacenza  e  Guastalla, 

Parma,  1832-34  ;  R.  Faccioli,  Relazione  dei  lavori  com- 

piuti  dairUjfficio  regionale  per  la  conservazione  dei  monu- 
menti dell'Emilia,  Bologna,  1898  and  1901  ;  V.  Maestri, 

Di  alcune  costruzioni  medioevali  dell'Apennino  modenese, 

Modena,  1895-98  ;  G.  Campori,  Gli  architelti  e  ingegneri 

degli  Estensi  dall  sec.  XIII  al  XVI,  Modena,  1882  ;  I. 

Kohte,  Die  Kathedrale  von  Piacenza  in  Blatter  fiir  A  rchi- 

tekturundKunsthandli>erk,n.7,  1900;   Consolidamento  e 

270 


riG.   458. — VIRGIN  AND  CHILD. 
(jACOPO   DELLA    QUERCIA.) 

S.  Petronio,  Bologna. 
{Photo.  Alinari.) 


EMILIA 


rtstauro  del  Juomo  di  Piacenza,  Pi&cenza,  1906;   L.  Cerri,  La  cattedrale  di  Piacenza  prima  e 

dopo  i  ristauri,  in  Arch.  Star,  per  le  prop,  parmensi,  ix.  1909;    G.   B.  Toschi,   Le  sculture  di 

Benedetto  Antelami  a  Borgo  S.  Donnino  in  Archivio 

Storico   dell' Arte,   i,    1888;    Lopez,    Cenni  intorrio 

alia   vita    e    alle  opere    di    Benedetto  Antelami  in 

Vendemmiatore,    Parma,    1846;    M.    G.   Zimmer- 

mann,  Oberilalienische  Plastik  im  friihen  and  Hohen 

Mittelalter,   Leipic,    1897;    Odorici,  La  Cattedrale 

di  Parma,    Milan,     1864;     Lopez,    //  battistero  di 

Parma ;     Andrea    Balletti,     Madonne    scolpite    nel 

Reggiano    in    Rassegna    d'Arle,    1909;    Bortolotti, 

Monumenti      di     Storia     patria     delle      provincie 

modenesi,     Modena,     1886;     Guida    dell'Apennino 

modenae,    Rocca    S.    Casciano,    1895;    A.    Brian, 

Apennino     Parmense,     Parma,     1903;     Schnaase, 

Geschichte   der  bildenden   Kunst  in  Mittelalter,   iv, 

Dasseldorf,    1871  ;    A.  Manzini,  La  Pieve  da  Treb- 

hio,  Modena,    1 907  ;    Borghi,  //  duomo,  ossia  cenni 

storici    e    descrittioi    della    cattedrale    di     Modena, 

Modena,    1 845 ;    G.   Messori-Roncaglia,    Cattedrale 

di  Modena,  Modena,  1878;   Dondi,  Notizie  storiche 

e  artistiche  del  duomo  di  Modena,  Modena,    1 896 ; 

G.  Cappello,  //  duomo  di  Modena  in  Emporium,  ix, 

1899  ;  G.  Ognibene,  //  duomo  e  la  torre  di  Modena, 

Modena,  1 906  ;  W.  Forster,  Zar  Litteraturgeschichte. 

Ein     neues     ArtusdokurrKnt     in      Zeitschrift    fiir 

romanische  Philologie,  xxii,  2,  243-48  ;    M.    Rey- 

mond,  L'autel  majeur  du  Ddme  de  Modene,  Paris, 

1 902 ;    B.    Colli,    Di    una    recente   interpretazione 

data  alle  sculture  dell'archioolto    nella  porta  setten- 

trionale   del  duomo   di  Modena  in  Atti  e  Memorie 

deUa  R.   Deputazione  di  Storia   Patria  per  le  pro- 
vincie modenesi,  series  iv,  volume  x,  1 899  ;  G.  Agnelli, 

La  porta   maggiore   della   cattedrale   di  Ferrara  in 

Emporium,  1906;    G.  Agnelli,  Le  Porte  di  Ferrara, 

Bergamo,     1909 ;     Tiraboschi,     Storia    dell'augusta 

abbazia     di     S.     Siloestro    a    Nonantola,   Modena, 
1784;  L.  Montagnani,   Storia  dell'augusta  badia  di 

S.    Siloestro    di   Nonantola,     Modena,     1 838 ;     C. 

Cesari,  Saggio  storico  artistico.      Nonantola,   Modena,  1901  ;   F.  Frandosi,  La  segra  di  Carpi, 

Carpi,   1877;  A.  Venturi,  Lo  scultore  romanico  del  S.  Mercuriale  di  FortI  in  L'Arte,  1898; 

G.    Guididni.    Cose    notablli    di    Bologna,    Bologna,    1868-73,    with    Supplement   by   Luigi 

Breventani,   Bologna,    1908;  L'Appen- 

nino  bolognese,  Bologna,  1881  ;  I.  B. 
Supino,  A  rchitettura  a  Bologna  nei 
secoli  XIII  e  XIV,  Bologna,  1909; 
A.  Rubbiani,  //  palazzo  di  re  Enzo 
in  Bologna,  Bologna,  1 906 ;  A. 
Rubbiani,  //  palazzo  dei  Notari  in 
Bologna,  Milan,  1907;  C.  Ricd. 
Monumenti  sepolcrali  di  lettori  dello 
Studio  bolognese,  Bologna,  1888;  A. 
Rubbiani,  La  chiesa  di  S.  Francesco 
a  Bologna,  Bologna,  1 886 ;  A.  Costa, 
Descrizione  della  chiesa  parrocchiale 
di  San  Martina  Maggiore  e  luoghi 
annessi,  Bologna,  1 879 ;  E.  Oridi, 
//  Foro  dei  Mercanti  in  Bologna  in 
Archioio  Storico  delFArte.v,  1892; 
A.  Rubbiani  and  A.  Tartarini,  / 
restaur!  alia  Mercanzia,  Bologna, 
1 889 ;  F.  Malaguzzi,  La  chiesa  e  il 
portico  di  S.  Giacomo  in  Bologna  in 
Archioio  Storico  dell'Arte,  vii,  1894; 
A.  Rubbiani,  S.  Giacomo  degli  Eremi- 
tani  in  Bologna  in  Rassegna  d'Arle, 
1909;  A.  Bacchi  della  Lega,  Biblio- 
grafia  Petroniana  in  Atti  e  Mem. 
della  R.  Dep.  di  S.  P.  per  le  provincie  di  Romagna,  iii  series,  n.  ix ;  A.  Gatti,  La  fahhrica 
di S.  Petronio,  Bologna,  1889,  and  Maestro  Antonio  di  Vincenzo  in  Archioio  Storiw  deU'Arie, 

271 


FIG.  459- REREDOS  OF  THE  HIGH 

ALTAR,  S.   FRANCESCO,   BOLOGNA. 

(Photo.-  Alinari.) 


no.   460. — COURT  OF  THE   PALAZZO  MUNICIFALE 

BOLOGNA.     {Photo,  dell' Emilia.) 


ART  IN  NORTHERN  ITALY 

IV  Rome,  1891  ;  E.  Bottrigari-Manzini,  Cenni  slorici  aopra  le  antiche  e  sull'oJlema  CaUedrale  di 
Bologna,  Modena,  1877;  A.  Stix,  Die  monumentale  Plastik  der  Pragen  DombauhaUe  um  die 
Wende  des  XIV  and  XV  Jahrhunderis  in  Kunslgeschichitiches  Jahrbuch,  1908;  Davia,  Le 
scolture  delle  parte  delta  basilica  di  S.  Petronio  in  Bologna,  Bologna,  1833;  J.  Cornelius,  Jacopo 
della  Querela,  Halle,  1896;  C.  Ricci,  Fieraoante  Fieravanti  e  I'architettura  bolognese  nella 
prima  meld  del  sec.  XV ia  Archivio  Slorico  dell' Arte,  iv,  1891  ;  C.  Ricci,  Giovanni  da  Siena, 
ibid.,  V.  1892. 


272 


FIG.    461. ADAM    AND    EVE.    (P.    CLEMENTI.) 

Cathedral,  Reggio  Emilia.     (Photo.  Fanluzzi.) 


CHAPTER   XXI 


EMILIA 

Architecture    of    the    Renaissance.    Sculpture    up    to 

THE  Nineteenth  Century 

Minor  Centres  of  Culture  in  the  Renaissance  Period. — Rimini  and  the  Malatesla. — Forli 
and  Caterina  S/orza. — Faenza. — Imola. —  The  Lombardi  at  Ravenna. — Ferrara  under 
Leortello  d'Este  and  his  Successors. — The  ArchHectural  Character  of  Bologna. —  The 
Bentiooglio  Family. — Sculpture  in  Emilia. — Niccolo  dall'Arca. —  Terracottists  in  Modena 
and  Bologna. — Clementi. 

The  springtime  of  the  Renaissance  passed  over  the  Emilian  province, 
causing  it  to  blossom  more  or  less  even  in  its  most  remote  districts. 
There  is  not  a  city,  a  tow^n,  or  a  castle  which  does  not  treasure 
some  evidence  of  this  fertilising  grace.  Ten  volumes  of  the  size  of 
this  one  would  not  suffice  to  record  and  describe  in  detail  all  the 
marvellous  works  of  art  to  be  found  there. 

We  have  already  pointed  out  that  no  other  region  of  Italy  can 
make  boast  of  having  had  so  many  independent  Courts  as  were  to 
be  found  in  Emilia,  and  although  those  of  the  Este  family  and  of 
the  Bentivogli  became  in  time  predominant,  the  lesser  Courts  were 
yet  able  to  maintain  their  glorious  position  as  fervid  supporters 
of  learning  and  of  art. 

On  the  hill  behind  Reggio  stands  the  Castle  of  Scandiano, 
stored  with  memories  of  the  fantastic  visions,  not  of  painters,  but  of 
Matteo  Maria  Boiardo,  the  author  of  Orlando  Innamorato ;  and 
close  at  hand  lies  the  walled  town  of  Castelvetro,  where  the  Rangoni 
built  their  palaces.  Here  is  the  castle  of  Mirandola,  where 
Giovanni  Pico  applied  his  prodigious  learning  to  the  discussion  of  so 

273  T 


ART  IN  NORTHERN  ITALY 


FIG.    462. CASTLE   OF    THE    PIO    FAMILY,    CARPI. 

(Photo.   deW Emilia.) 


many  arduous  theses,  and  to  the  refutation  of  old  and  ferocious 
superstitions ;  and  here,  too,  rises  the  imposing  mass  of  the  castle  of 

Carpi  (Fig.  462),  the  dec- 
oration of  which  Alberto 
Pio  entrusted  to  Giovanni 
del  Sega,  a  painter  of  Forli 
(at  work  1506-1  527),  and 
to  Bernardino  Loschi, 
while  in  the  city  below, 
embellished  by  him  and 
surrounded  by  walls,  he 
built  the  church  of  S. 
Niccolo  after  the  designs 
of  Baldassarre  Peruzzi ; 
here,  too,  is  Correggio, 
with  its  beautiful  palace, 
adorned  for  Francesca  of 
Brandenburg  with  loggias  and  with  a  network  of  marble,  and 
thus  made  a  fit  home  for  the  charm  of  Veronica  Gambara ;  and 
Novellara  with  the  castle  where  Francesco  Gonzaga  and  Costanza 
Strozzi  devoted  themselves  jointly  to  the  protection  of  art  and  to 
works  of  piety.  Near  at  hand  is  Guastalla,  where  Achille  Torelli 
found  a  sedative  tor  his  fantastic  and  violent  spirit  in  planning  and 
discussing  the  erection  of  his  palace.  Then  we  have  the  superb 
mass  of  Montechiarugolo,  the  home  in  her  joyous  youth  of  the 
Barbara  Torelli  immortal- 
ised by  Ariosto ;  Corte- 
maggiore,  enlarged  by  Gian 
Lodovico  Pallavicino,  and 
adorned  with  a  castle  and 
with  the  two  splendid 
churches  of  S.  Maria  della 
Nativitk  and  S.  Maria 
delle  Grazie,  churches 
which  were  completed  by 
his  son  Orlando,  who 
summoned  Pordenone  to 
decorate  them  with  fres- 
coes; the  castles  of  Tor- 
chiara  (Fig.  463)  and  of 

Roccabianca,  distinguished  by  their  noble  architecture,  and  by  the 
frescoes  executed  by  painters  of  Cremona,  who,  commissioned  by 

274 


FIG.   463. — CASTLE   OF  TORCHIARA. 

(Photo.  Cassarint.) 


EMILIA 


Pier  Maria  Rossi,  covered  the  walls  with  love  scenes  full  of  allusions 
to  his  lady,  Bianca  Pellegrini,  and  with  episodes  from  Boccaccio's 
tale  of  the  gentle  Griselda  ;  the  castle  of  S.  Secondo,  also  belonging 
to  Rossi,  which  was  enlarged  by  Troilo,  the  castle  of  Fontanellato, 
where  the  Sanvitali  gave  shelter  to  Parmigianino,  who  painted 
there  the  story  of  Diana  and  Actaeon ;  and  finally  Busseto,  for  ages 
faithful  to  the  Pallavicini,  who  built  there  the  castle  and  the  walls 
— now  in  ruins — as  well  as  some  notable  churches. 

These — passing  over  many  others — were  the  lesser  centres  of  the 
Emilian  province,  where  the  Re- 
naissance found  its  most  zealous 
supporters.  Wandering  among  these 
memorable  places  now  one  is  over- 
come by  melancholy,  so  silent  and 
deserted  are  the  streets;  and  all 
that  remains  of  the  departed  glory 
is  the  architecture. 

From  the  first  awakening  of  the 
Italian  spirit  the  temperament  of  the 
Emilians  was  cheerful  and  merry. 
Even  amid  the  restraints  of  mediaeval 
superstition  Fra*  Salimbene  fills  his 
Chronicle  with  witty  sayings  and 
Benvenuto  Rambaldi  enlivens  his 
commentary  on  the  Divina  Corn- 
media  with  amusing  anecdotes. 
Later  Emilia  became  the  birthplace 
of  the  Orlando  Innamorato,  of  the 

Orlando  Furioso,  of  the  Secchia  Rapita  and  of  the  joyous  art  of 
Correggio. 

In  Romagna,  on  the  other  hand,  at  the  time  of  the  Renaissance 
above  all,  we  find  no  trace  of  this  happy  spirit.  It  is  a  land  to  which 
the  warning  of  Dante  is  still  applicable : — 

"  Romagna  tua  non   e  e  non  fu  mai, 
Senza  guerra  ne'  cuor  de'  suoi  tiranni." 

Nevertheless,  art  was  not  neglected,  and  it  was  here  towards  the 
middle  of  the  fifteenth  century  that  the  first  great  work  inspired  by 
the  new  canons  appeared — a  work  in  which  Leon  Battista  Alberti 
did  not  confine  himself  to  the  reproduction  of  detail  taken  from 
classical  buildings,  but  attempted  and  indeed  succeeded  in  giving  a 
synthetic  impression  of  the  architectural  sentiment  of  classical  times 

275  T  2 


FIG.    464. PALAZZO    DEL    PODESTA, 

FORLi.     {Photo.  Alinan.) 


ART  IN  NORTHERN   ITALY 


FIG.   465. — CHURCH   OF  S.   FRANCESCO,    RIMINI. 

(Photo.  Alinari.) 


(Fig.  465).     The  enlargement  of  the  church  of  S.  Francesco  at 
Rimini — a  work  in  which  Matteo  Pasti,  the  Veronese  medalUst,  and 

Matteo  Nuti  of  Nocera  also 
collaborated — was  the  re- 
sult of  an  energy  character- 
istic (jf  the  time,  an  energy 
that  became  a  consuming 
ardour  in  the  souls  of  Al- 
berti  and  of  Sigismondo 
PandoRo  Malatesta.  Al- 
berti,  an  artist,  sought  to 
express  in  this  building  the 
charm  exercised  by  art ; 
Sigismondo,  a  lover,  the 
fire  of  love ;  both  of  these 
learned  and  ambitious  men 
were  governed  by  the  su- 
preme ideal  of  classical  cul- 
ture and  of  humanism.  The  humble  Gothic  church  of  the  Franciscan 
friars  was  encircled  with  arches  and  sepulchral  monuments,  but 
the  arches  followed  on  the  lines  of  those  built  of  old  to  com- 
memorate Roman  triumphs,  and  the 
tombs  were  destined  to  hold  the 
mortal  remains  of  the  poets  and  the 
philosophers  who  had  shed  lustie 
on  the  court  of  the  Malatesta. 
Agostino  di  Duccio  decorated  it 
with  a  series  of  exquisite  figures 
swathed  in  elaborate  drapery,  and 
nude  putti  bounding  along  in  an 
ecstatic  dance. 

At  the  time  when  the  "  Tempio 
Malatestiano  "  at  Rimini  was  being 
adorned  in  this  fashion,  Domenico 
Malatesta  Novello,  as  Nuti  has 
recorded,  was  building  a  superb 
palace  and  a  magnificent  library  at 
Cesena. 

At  Forli,  again,  even  amid  the 
tumults   and   tragedies  of   the   suc- 
cessive ruling  families — the  Ordelaffi,   the  Chiesa,   the   Riario — 
and  of  Cesare  Borgia,  the  desire  to  embellish  the  city  was  no  less 

276 


FIG.   466. — PALACE  OF   THE   SFORZA, 

IMOLA.     {Photo.  Alinari.) 


EMILIA 


FIG.    467. — LOGGIA    OF    THE    GIARDINO    DEI 

poRTUENSi    RAVENNA.     (Pholo.  Ratiieri.) 


intense.  The  proud  and  ruthless  Caterina  Sforza  had  recourse 
to  all  the  seductions  of  art  to  make  her  castle  a  nest  of  delights 
for  Giovanni  de'  Medici. 
Other  relics  of  the  Renais- 
sance are  the  Palazzo  del 
Podesta  (Fig.  464),  built 
in  1459  by  Matteo  di 
Riceputo,  and  part  of  the 
church  of  S.  Biagio, 
adorned  with  frescoes  by 
Palmezzano  and  with 
sculpture  by  Francesco  di 
Simone  of  Fiesole  ;  many 
more  would  have  survived 
had  not  the  men  of  the 
sixteenth  and  seventeenth 
centuries  insisted  on  trans- 
forming everything  to  suit 

the  taste  of  the  day.  Remarkable  examples  of  the  Florentine  style 
may  be  found  in  the  cathedral  of  Faenza,  begun  in  1 474  by  Giuliano 
da  Maiano,  and  in  the  Palazzo  Sforza  at  Imola  (Fig.  466) ; 
other  buildings  are  of  a  Bramantesque  type,  such  as  the  tribune 
of  Julius  II.;  or  in  the  Bolognese  style,  such  as  the  Palazzo 
Sersanti  where  the  introduction  of  the  portico  and  the  abundant  use 
of  ornamental  terra-cotta  reveals  its  origin.  It  was  from  Venice  that 
the  spirit  of  the  Renaissance  reached  Ravenna,  a  town  at  the  time 
subject  to  her  rule.  Pietro  Lombardi,  who  was  at  work  there  with 
his  sons,  erected  the  columns  of  the  Piazza  and  built  the  tomb  of 
Dante  (1483).  He  may  also  have  designed  the  cloisters  and  the 
Loggia  del  Giardino  (Fig.  467)  at  S.  Maria  in  Porto  (1  502-1  5 1 8). 
Later,  his  son  TuUio  carved  the  statue  of  Guidarello  Guidarelli,  a 
work  remarkable  for  the  poignant  melancholy  of  the  face  (1  525),  and 
still  later  (1562)  Andrea  da  Valle,  who  built  the  court  of  the 
University  at  Padua  (see  above,  p.  1 04),  constructed  the  cloister  of 
the  monastery  of  S.  Vitale,  with  its  twin  columns. 

The  Renaissance  flourished  at  Ferrara  with  a  vigour  of  a  totally 
different  kind.  Here  its  moving  spirits  were  Leonello  d'Este, 
a  man  of  fine  temper,  "  trained  in  the  discipline  of  beauty,"  and 
Borso,  a  greater  than  he,  who  succeeded  him  in  1450.  At  that 
time  some  painters  of  distinction  were  at  work  in  the  city,  as  well 
as  a  crowd  of  artists  occupied  with  the  minor  acts — tapestry  weavers 
juid   embroiderers   who   came   from   Flanders   and   from   France, 

277 


ART  IN  NORTHERN  ITALY 


FIG.    468. — PALACE   OF   THE   DIAMANTI,    FERRARA. 

(Photo.  Alinari.) 


goldsmiths,  for  the  most  part  Lombards,  medallists,  woodcarvers,  etc. 

It  is  to  Borso  that  we  owe  the  great  Certosa  and  the  completion 

of  that  marvel  of  graceful  beauty,  the  Schifanoja  Palace  ( 1 466- 1 469). 

It    was    built    by    Pietro 

Benvenuti,  and  the  painters 
of  Ferrara,  above  all  Fran- 
cesco del  Cossa,  competed 
for  the  honour  of  deco- 
rating it, 

Ercolel.  (1471-1505), 
finding  the  city  cramped 
and  crowded,  enlarged  it 
by  laying  out  those  wide, 
straight  streets,  to  which 
it  owes  its  claim  to  be  the 
first,  chronologically,  of  the 
modern  cities  of  Europe. 
This  extensive  undertaking 
was  carried  out  by  Biagio 

Rossetti ;  to  him  Ferrara  is  indebted,  among  other  buildings,  for  the 

Palazzo  dei  Diamanti  (Fig.  468) — where  he  had  the  assistance  of 

the    sculptor    Gabriele    Frisoni    of 

Mantua — and    for    the    palace    of 

Lodovico  il  Moro  which,  in  spite 

of  neglect   and   poverty,   still  pre- 
serves its  noble  aspect,  for,  as  the 

poet  says,  *'  non  copre  abito  vil  la 

nobil  luce  "  (*'  vile  vesture  cannot 

hide  the  noble  light  "). 

It  is  not  known  who  were  the 

authors  of  the  Palazzo  Sacrati  (now 

Prosperi)  and  of  its  beautiful  gate- 
way,   that   admirable   example   of 

architectural     proportion     and     of 

graceful    decoration    (Fig.    469) ; 

nor  again  of  the  Palazzo  Rovarella, 

so  remarkable  for  its  ample  decora- 
tion of  warm  terra-cotta.   We  know, 

however,  that  the  above-mentioned 

Benvenuti  was  responsible  for  the 

staircase  of  the  Palazzo  Civico,  and  Anton  Francesco  Sardi  for  the 

adjacent  loggia  (1503). 

278 


FIG.    469. — DOORWAY    OF    PALAZZO 

SACRATI,  FERRARA.     (Photo.  Alinari.) 


EMILIA 


It  was  amid  conspiracies,  famines,  pestilences,  fires,  and  inundations 
that  this  brilHant  artistic  Hfe  was  maintained  by  Ercole  I.  If  it 
suffered  from  the  fury  of  war  in  the  days  of  Alfonso  I.  and  of 
Lucrezia  Borgia,  it  was  by  no  means  quenched,  for  it  was  at 

this    time    that    the    huge  

castle — built  as  far  back  as  ' 
1385byBartolinoPlotiof 
Novara  —  received  fresh 
embellishments  (Fig.  470) 
and  that  the  Castel  Ted- 
aldo,  sung  by  Ariosto 
and  destroyed  by  Clement 
VIII.,  was  erected. 


''ffUl^        ^^^^            ^^Mr^- — ''' 

tP%, 

k  ,■      ^'.if^^'K^      . 

c 

n^^^^^^pi^n 

The  heavy  falls  of  snow, 

to    which    Bologna,     built  ^^°-  ^'^°- — castle,  ferrara.     (Photo.  Alinari.) 

upon  the  northern  slope  of 

the  hills  and  facing  the  wide  valley  of  the  Po,  is  subject,  were 
the  origin  of  a  remarkable  architectural  feature.  All,  or  nearly 
all,  its  streets  are  flanked  by  arcades  which  were  already  fully 
developed — of  this  we  have  proof  in  the  Casa  Isolani  (Fig. 
471),  the  Casa  Grassi,  and  other  buildings — in  the  thirteenth 
century.  Supported  at  the  beginning  by  wooden  columns  resting 
on  bases  of  alabaster,  for  the  most  part  they  served  as  a  shelter 
to  one  storey  of  the  house  and  as  a  support  to  that  above.  With 
the  increase  of  well-being  and  with  the  advance  of  art  these 
arcades  gradually  assumed  more  imposing  and  more  beautiful  forms. 
The  colurrms  of  wood  were  replaced  by  others  of  sandstone  or  of 
brick ;  they  were  now  surmounted  by  elaborately  carved  capitals 
of  marble,  and  a  luxuriant  decoration  of  terra-cotta  was  carried  along 
the  cornices  and  around  the  arches  and  the  windows.  And  this 
wealth  of  columns  and  vaults  and  arches,  sometimes  in  alignment  on 
either  side  of  the  streets,  like  the  aisles  of  a  basilica,  at  others 
curving  like  an  avenue  of  trees  along  the  banks  of  a  canal,  in 
one  place  dark  in  contrast  to  the  sunny  piazza,  or  standing  out 
sun-illumined  in  contrast  to  a  dark  winding  lane,  produces  a  flow 
and  a  contrast  of  lines,  and  a  play  of  light  which  must  have  proved 
no  small  incentive  to  the  great  perspective  and  scenographic  school  of 
Bologna,  which,  starting  from  Sebastiano  Serlio,  theoretical  writer  and 
practical  architect,  flourished  there  for  more  than  three  centuries. 

279 


■  ART  IN  NORTHERN  ITALY 


The  first  period  of  the  Renaissance  at  Bologna  is  contemporaneous 
with  the  rule  of  Sante  and  of  Giovanni  II.  Bentivoglio,  which  lasted 
from  1455  to  1506,  and  it  may  be  affirmed  without  exaggeration 
that  at  least  a  hundred  buildings,  dating  from  that  time,  both  great 
and  small  and  of  various  merit,  still  survive  in  Bologna.  The  one 
palace,  however,  that  might  have  served  as  a  measure  of  the  splendour 
of  the  Court  in  those  days,  a  palace  of  which  it  has  been  said  that  it 
was  "  the  most  beautiful  civil  edifice  in  Italy,"  was  destroyed  on  the 
occasion  of  a  popular  outburst  that  was  secredy  instigated  by 
Julius  II.  The  architectural  lines  of  this  building,  the  work  of 
Lapo  Portigiani  of  Fiesole,  who  built  the  still  surviving  Palazzo 
Isolani  (1451-1455),  served  as  a  model  for  many  buildings  erected 
at  that  time  in  Bologna  ;  among  others,  for  the  interior  of  the  palace 
that  has  been  known  successively  by  the  names  of  Sanuti,  Bentivoglio, 
and  Bevilacqua ;  am6ng  a  crowd  of  Bolognese  and  Tuscan  artists  at 
work  here,  the  most  important  were  Marsilio  Infrangipani  of 
Altomena  (Pontassieve)  and  Tommaso  Filippi  of  Varignana,  who 
also  worked  together  elsewhere.  The  sculpture  on  the  fa9ade, 
however  (Fig.  472),  is  assigned  to  Francesco  di  Simone  Ferrucci 

of  Fiesole,  the  author  of  the  tomb 
of  Tartagni  in  S.  Domenico  and  of 
many  other  works  in  Romagna. 
Foreign  artists  abounded  in  Bo- 
logna, as  in  every  important  Italian 
city.  In  addition  to  those  already 
mentioned  we  find  Sperandio  of 
Mantua,  who  designed  the  top  of 
the  campanile  of  S.  Petronio  and 
modelled  the  decorative  parts  of  the 
tomb  of  Alexander  V.  and  perhaps 
those  on  the  fac^ade  of  the  church 
of  Corpus  Domini  (Fig.  474)  (if 
these,  like  the  work  in  the  Palazzo 
del  Podesta,  were  not  rather  due  to 
Infrangipani  and  his  assistants),  and 
again,  Francesco  de  Dozza,  who,  in 
addition  to  his  work  on  the  walls  of 
the  Palazzo  del  Podesta  (Fig.  473), 
designed  the  campanile  of  S.  Petronio.  But  side  by  side  with  the 
work  of  these  foreigners  proceeded  that  of  the  Bolognese  builders 
and  architects  formed  in  the  school  of  Lorenzo  di  Bagnomarino, 
of  Antonio  di  Vincenzo,  and  of  Fieravante  Fieravanti ;  for  example, 

280 


FIG.    471. — CASA   ISOLANI,   BOLOGNA. 

(.Photo,  dell' Emilia.) 


EMILIA 


the  son  of  the  last,  that  Ridolfo  known  as  Aristotile,  a  man  of 
exceptional  abilities,  an  artist  and  engineer,  both  hydraulic  and 
mechanical,  who  awaits  a  special  monograph  to  reveal  him  in 
his  universality.  Aristotile  in  fact,  with  Bertola  da  Novate,  Aguzio 
of  Cremona,  and  others,  con- 
tributed to  the  progress  of  hydraulic 
science,  thanks  to  discoveries  the 
credit  for  which  is  usually  given 
to  Leonardo.  At  Venice  he 
restored  a  campanile  to  the  per- 
pendicular ;  another,  at  Bologna, 
he  moved  to  a  distance  of  thirty- 
five  feet ;  he  erected  castles  and 
houses,  and  finally  worked  in  the 
Kremlin  at  Moscow,  where  he 
died  at  the  age  of  seventy  in  1 486. 
There  was  one  artist,  however, 
who  takes  a  commanding  position 
among  his  contemporaries.  Andrea 
Marchesi  (at  work  1515-1  530), 
known,  from  the  place  of  his 
birth,  as  Formigine,  was  the  head 
of  a  family  of  artists  and  of  a  large 
botlega;  from  this  workshop  came  graceful  carvings,  not  only  in 
marble,  but  in  wood  also,  and  among  them  those  frames  which 
we  often  find  surrounding  the  pictures  of  Francia  and  his  fol- 
lowers. In  addition  to  his  charming  works  of  ornamental  sculpture, 
he  gave  proof  of  originality  and  strength  as  an  architect  in  the 
portico  of  S.  Bartolomeo  (1515),  in  the  Palazzo  Fantuzzi  (1517- 
1 522),  and  in  the  Palazzo  Malvezzi-Campeggi,  which  was  com- 
pleted by  his  son  about  the  middle  of  the  sixteenth  century. 

If,  in  the  province  of  Emilia,  there  is  no  other  city  that  can  rival 
Bologna  in  the  number  of  Renaissance  buildings,  yet  in  every  one, 
it  may  be  safely  asserted,  conspicuous  examples  may  be  found. 
Of  Ferrara  and  of  some  other  less  important  towns  I  have  already 
spoken.  In  Modena  we  find  the  church  of  S.  Pietro,  rebuilt  in 
1476  bv  Pietro  Barabani  of  Carpi;  at  Reggio,  the  Casa  dei 
Manfredi  (now  belonging  to  the  Rocca-Saporiti),  built  perhaps  by 
Bartolomeo  Spani ;  at  Parma,  those  marvels  of  combined  strength 
and  elegance,  the  churches  of  S.  Giovanni  Fvangelista  (1510, 
Fig.  477),  and  the  Madonna  della  Steccata  (1  521 ,  Fig.  476),  both 
the  work   of   Bernadino   Zaccagni   of  Torchiara ;    at   Piacenza, 

281 


l'ALA//ii    Hi:vil,ACQUA 

{Pholo.  deW Emilia.) 


ART  IN  NORTHERN  ITALY 


1 

dii 

--.-^ 

:/vl 

FIG.  473  ■ 


-PALAZZO    DEL    PODI.ST A, 

{Photo.  Alinari.) 


finally,   the  no  less  splendid  churches  of  S.   Sisto   (1499-1511, 
Fig.  478)  and  of  S.  Maria  di  Campagna  (1  522,  Fig.  479),  built  by 

AlessioTramello,  an  archi- 
tect who  followed  in  the 
footsteps  of  Bramante. 

Thus  we  see  that  in 
Emilia,  during  this  happy 
period,  every  centre  of 
importance  could  boast 
native  architects  worthy  of 
a  fame  that  so  far  has  been 
denied  them.  The  same 
cannot  be  said  of  the  sculp- 
tors, for  we  have  now 
proof  that  the  greater  num- 
ber of  works  in  this  branch 
of  art  are  due  to  foreigners. 
At  Bologna  and  at  Ra- 
venna we  have  already  seen  Venetian  sculptors  at  work,  and  the 
Lombards  and  Tuscans  we  find  everywhere.  We  have  already 
mentioned  a  few :  limiting  ourselves  to  the  more  important  attribu- 
tions, we  may  here  add  that  Andrea 
da  Fiesole  and  Jacopo  Lanfrani 
have  left  us  various  examples  of 
their  skill  in  Bologna  ;  that  Niccolo 
Baroncelli,  Domenico  di  Paris, 
Antonio  Rossellino,  and  Ambrogio 
da  Milano  worked  at  Ferrara ; 
Benedetto  da  Maiano  at  Faenza 
(here,  however,  we  find  in  Pietro 
Barilotto— fl.  I  528-1  552— a  clever 
native  sculptor) ;  Gian  Francesco 
d'Agrate  at  Parma ;  the  brothers 
Gazzaniga  at  Borgo  S.  Donnino. 
At  a  later  date  we  find  Leone 
Leoni  at  Guastalla  and  Francesco 
Mochi  at  Piacenza,  with  a  troop  of 
assistants.  At  Bologna,  Michel- 
angelo, Gabriele  and  Zaccaria 
Zacchi  of  Volterra,  Giovan  An- 
giolo  Montorsoli,  and  Giambologna  were  all  at  work ;  but  the  man 
who  sojourned  there  for  a  longer  time  and  exercised  a  greater 

282 


FIG.   474. — DOORWAY  OF  CORPUS  DOMINI, 

BOLOGNA.     {Photo.    deU'Emilia.) 


EMILIA 


FIG.  475. — PALAZZO  FAVA,  BOLOGNA. 

{Photo.  Alinari.) 


influence  than  any  of  these  was  Niccolo  Pericoli,  known  as  Trlbolo 
(1 485-1 550).  Niccolo  dall'Arca,  again,  was  not  of  Emilian  birth — 
he  was  a  Slavonian — but  seeing  that 
he  passed  nearly  the  whole  of  his 
life  in  the  province,  we  may  regard 
him  as  a  native  artist,  and  if  in  his 
work  we  find  evidence  of  exotic  in- 
fluences, we  can  see  that,  none  the 
less,  he  owed  much  to  works  of  art 
already  existing  in  Bologna,  as  well 
as  to  those  two  vigorous  Ferrarese 
painters,  Cosme  Tura  and  Francesco 
del  Cossa.  The  more  decorative 
parts  of  the  pictures  by  Cosme  in 
the  Berlin  Museum,  as  well  as  those 
of  the  fresco  by  Cossa  in  the  Barac- 
cano  church  at  Bologna,  the  wide 
and  deep  folds  of  the  drapery  in  the 
tempera  painting  by  the  same  Cossa 
in  the  Bologna  Gallery,  show 
marked  and  unmistakable  affinities 
with  the  sculpture  of  Niccolo,  who,  for  that  matter,  was  a  younger 
man,  and,  working  as  he  did  at  Bologna  during  the  same  years  as 
the  Ferrarese  painters,  was  not  likely  to  escape  the  influence  of 
their  vigorous  style,  which 
must  inevitably  have  ap- 
pealed to  him.  However 
that  may  be,  Niccolo,  bold 
to  the  verge  of  violence 
in  the  expressions  and 
in  the  gestures  of  his 
*'  Maries  "  wailing  and 
contorting  themselves 
around  the  dead  Christ 
(1463) — imitating  in  this 
the  gestures  of  the  hired 
mourners  of  the  contempo- 
rary funerals,  whose  ex- 
cesses had  to  be  restrained 
by  legal  enactments  (Fig. 

480) — was  solemn  and  restrained  in  the  Madonna  in  the  Palazzo 
Pubblico  (1478,  Fig.  481),  and  in  the  canopy  of  the  shrine  of  S. 

283 


FIG.    476. — MADONNA    DELLA    STECCATA,    PARMA. 

{Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


FIG.    477. — S.    GIOVANNI   EVANGELISTA,    PARMA. 

(Photo.  Alinari.) 


Dominic  (1469-1473,  Fig.  483)  he  achieved  an  exceptional  grace. 

These  and  other  works  he  completed  before  his  death  in   1 494 ; 

but  in  spite  of  labours  so 
successful  Niccolo  died  in 
poverty. 

Niccolo's  so-called 
"  Delia  Vita  "  Maries  are, 
if  we  are  not  mistaken,  the 
earliest  life-sized  terra-cotta 
figures,  executed  in  the 
round,  to  be  found  in 
Emilia.  On  Jacopo  della 
Quercia's  tomb  of  the  Vari 
family,  there  are  indeed 
bas-reliefs  and  small  sym- 
bolical statues,  but  this  work 
found  no  imitators.  Spe- 
randio's  tomb  of  Alexander 

V.  is  later  by  some  twenty  years.     Hence  there  can  be  no  doubt 

that  it  was  at  Bologna,  in  the  school  of  Niccolo,  rather  than  in 

his    native    town,    in    that    of    Galeotto    Pavesi,    that    the    gifted 

Guido  Mazzoni  of  Modena  (who 

was   already   at    work    in    1470), 

known  as  Modanino,  and  also  as 

Paganino,   learned  his  art.     From 

Modena     Guido     passed     on     to 

Busseto,  to  Reggio,  to  Cremona,  to 

Venice,  to  Naples,  and  to  Tours, 

whence,  in  1 507,  he  made  his  way 

back    to    his    native    town.      He 

returned   later    to    France,    in    the 

service  of  Louis  XII.,  and  on  the 

death   of    that   king   in    1515,    he 

again  took  up  his  abode  in  Modena, 

and  there  he  died  three  years  later, 

an  old  man,  respected  and  wealthy. 

Works  by  him  are  to  be  found  in 

many    of    the    above  -  mentioned 

towns.      But    the    most    beautiful, 

perhaps,    and    certainly    the    most 

characteristic,    are    those    he   executed    for   his   native   city,    more 

especially  the  Pieta  in  S.  Giovanni  (Fig.  482)  and  the  Nativity  in 

284 


FIG.    478. — .S.    SISTO,    PIACENZA. 

{Photo.  Alinari.) 


EMILIA 


FIG.    479. — IIAUONNA    DI    CAMPACNA,    PIACENZA. 

(Photo.  Alinari.) 


the  cathedral,  works  whose  only  fault  lies  in  the  composition.  It  may 

be  said  that  actual  truth  of  life  has  never  been  more  vividly  seized  and 

more  exactly  rendered  than 

in  these  works.  Less  lofty  in 

his  aim,  less  synthetic  than 

Niccolo, — indeed,  like  his 

contemporary,  Tilmann 

Riemenschneider,  crudely 

analytic  in  spirit, — Guido 

does  not  spare  us  a  single 

wrinkle,  a  hair,  a  fold  of 

drapery,  or  a  grimace.  Yet 

all    is    rendered    without 

losing  sight  of  the  general 

expression    of    the    figure, 

which  he  attains  without 

any  of  the  violence  of  his 

master. 

Meanwhile,  by  his  side,   a  numerous  and   successful  school  of 

terracottists  grew  up  in   Modena.     Andrea,   Camillo,   and   Paolo 

Bisogni  have  been  much  admired  for  their  ornamental  work.     But 

Antonio  Begarelli  (1498-1565)  is  on  a  much  higher  level,  thanks 

to   his  charming  figures,   often   picturesquely   arranged   in   groups, 

and  so  sweet  in  expression  that  they  look  like  works  by  Correggio 

translated   into  terra-cotta.     There  can  be  no  doubt  that  Begarelli 

came  into  contact  with  the  great  master  at  Parma,  where  we  may 

see  some  graceful 
statues  by  him  in 
the  church  of  S. 
Giovanni  Evange- 
lista. 

When  will  some- 
one write  the  his- 
tory of  the  terra- 
cottists of  Modena  ? 
They  were  at  work 
for  a  longer  period 
and  with  greater 
success  than  is  gen- 
erally believed.      In 

1 573  the  monks  of  S.  Vitale  at  Ravenna  placed  an  order  at  Modena 

for  a  series  of  cherubs  in  terra-cotta  for  the  aecoration  of  an  entablature, 

285 


FIG.    46vj.       lihiA.       V..M<.cuLU   DALL'ARCA.) 

Church  della  Vita,  Bologna.     (Photo.  deW Emilia.) 


ART  IN  NORTHERN  ITALY 


i. virgin  and  child. 

(n.  dall'arca.) 

Palazzo  Comunale,  Bologna. 

(Photo.  dell'Emilia.) 


a  circumstance  that  raises  a  doubt  whether  some  of  the  decorative 
terra-cotta  found  in  various  places  in  Emilia,  and  generally  held  to 

be  of  Bolognese  origin,  may  not  really 
have  come  from  Modena.  In  any  case 
it  was  Bologna  that  produced  what  is 
perhaps  the  richest  series  in  this  art, 
and  one  good  reason  for  this  may  be 
found  in  the  fact  that  this  hard  material 
successfully  resists  the  action  of  the 
severe  frosts  that  soon  destroy  any 
external  deco.ation  carved  in  the  soft 
and  friable  local  sandstone. 

The  guilds  of  the  Bolognese  masters 
owned  extensive  kilns  in  which  decora- 
tive bricks,  shaped  in  moulds  of  wood, 
or  sometimes  of  metal,  were  fired  (Fig. 
484).  Entablatures  and  other  decora- 
tions were  then  constructed  by  dis- 
posing these  bricks  in  various  fashions 
and  thus  obtaining  various  effects.  The 
earliest  cotti  made  their  appearance  in 
the  thirteenth  century,  the  latest  in  the 
sixteenth.  The  men  of  the  Baroque  period  thought  them  too 
common,  and  they  had  to  make  way  for  the  foliage  and  the 
little  plump  Cupids  of  plaster-of-Paris  or  of  stucco,  now  to  a  large 
extent  cracked  and  broken,  while  the  terra-cotta  work  has  suffered 
less  than  marble  itself  during  all  these  centuries. 

Following  the  example  of  Niccolo  dall'Arca  and  of  Mazzoni, 
Vincenzo  Onof rio  and  Al- 
fonso Lombardi  (1497- 
1 53  7),  whose  real  name 
was  Cittadella,  modelled 
in  clay  and  sent  to  the 
kilns  reliefs  and  statues  of 
large  dimensions.  In  the 
case  of  the  statues  of  the 
latter  artist  the  main  con- 
ception is  a  pictorial  and 
naturalistic  one,  but  in 
sculptured  groups  he  aimed 
at  a  more  satisfactory  effect  by  a  more  closely  knit  structure  and  by 
a  better  idealisation  of  the  individual  figures.  Among  the  most  admired 

286 


FIG.    482. PIETA.    (GUIDO   MAZZONI.) 

Church  of  S.  Giovanni,  Modena.     (Pholo.  Alinari.) 


EMILIA 


of  his  works  may  be  classed  the  reUefs  upon  the  pHnth  of  the  shrine 
of  S.  Dominic,  the  group  of  the  Death  of  the  Virgin  in  the 
Delia  Vita  Oratory,  and  the  Resurrection  of  Christ  in  the  lunette 
over  one  of  the  lesser  doors  of  S.  Petronio  (Fig.  486).  Now  it  is 
a  fact  that  must  not  be  overlooked  that  it  was  to  take  a  part  in  these 
works  that  Tribolo  came  to  Bologna  from  Florence.  It  was  he  who 
brought  to  the  former  town  the  "  Roman  "  style,  touched  by  the 
influence  of  the  work  of  the  Sansovini,  and  by  that  of  Michelangelo. 

At  Reggio  we  find  that  vigorous  and  prolific  artist,  Bartolomeo 
Spani  (1467-1  540  ?),  of  whom  we  have  already  spoken,  hesitating 
between  the  claims  of  the 
old  and  the  new  art.  His 
nephew  Prospero,  known 
as  Clementi,  who  died  at 
a  great  age  in  1 584,  fol- 
lowing with  tempered 
energy  in  the  wake  of 
Michelangelo,  made  a 
name  for  himself,  justified 
by  such  works,  among 
others,  as  the  Adam  and 
Eve  (Fig.  461)  on  the 
fa9ade  of  the  cathedral  of 
Reggio  which  was  begun 
by  him,  the  Fossa  tomb  in 
the  same  church,  and  the  shrine  and  the  statue  of  S.  Bernardo 
degli  Uberti  in  the  crypt  of  the  cathedral  at  Parma. 

Clementi  may  be  accepted  as  the  last  of  the  great  sculptors 
of  Emilia,  unless  we  are  prepared  to  give  that  position  to  the 
Bolognese  Alessandro  Algardi  (1592-1654),  whose  work  is  to  be 
found  not  so  much  in  his  native  country  as  in  Rome ;  there,  in 
S.  Peter's,  we  may  see  his  much-praised  tomb  of  Leo  XI. 
(Fig.  485),  and  in  the  Palazzo  dei  Conservatori  his  statue  of 
Innocent  X.,  which  vies  in  energy  and  majesty  with  that  of 
Urban  VIII.  by  Bernini,  which  stands  opposite  to  it.  His  fagade 
to  the  church  of  S.  Ignazio  is  one  of  the  most  imposing  in 
Rome,  being  free  from  the  extravagance  rife  at  the  time  in  such 
works. 

After  this  time  the  art  of  the  sculptor  fell  into  the  most  complete 
mannerism,  and  the  artists  of  the  day  contented  themselves  with 
turning  out  to  order  figures  and  decorations  of  marble  for  the  tombs 
and  facades  of  churches,  and  stucco-work  for  interiors. 

287 


FIG.    483. TOMB    or   S.    DOMINIC,    BOLOGNA. 

(Photo.  deU'Emilia.) 


ART  IN  NORTHERN  ITALY 


In  the  other  cities  of  EmiHa  we  hear  of  few  sculptors  at  this  time, 
ahhough  the  art  was  not  extinct.  About  the  middle  of  the  sixteenth 
century  Ferrara  was  the  scene  of  the  activity  of  Lodovico  Ranzi, 

who  was  subsequently  engaged  upon 
the  Palazzo  Pubblico  at  Brescia, 
while  Andrea  Ferrari  (1673-1  744) 
found  abundant  occupation  there 
towards  the  end  of  the  succeeding 
century ;  he  worked  in  marble,  in 
stucco,  and  in  terra-cotta,  showing 
himself  a  cold  and  mannered,  but 
quiet  and  refined  artist.  Clever 
decorative  sculptors  abounded  at 
this  time  in  greater  numbers  than 
ever,  and  at  Parma  the  French 
sculptor,  G.  B.  Boudard,  was 
supreme. 


BIBUOGRAPHY  OF  CHAPTER   XXI. 


FIG.    484. — TERRA-rOTTAS, 

Museo  Civico,  Bologna. 
{Photo,  dell' Emilia.') 


For  workc  of  a  general  character,  guides  to  citiet, 
&c.,  see  the  Bibliography  to  Chapter  XX. — G. 
Ferrari-Moreni,  Contributo  alia  storia  ariislica 
moJenese  in  Atti  e  memorie  delta  R.  Deputa- 
zione  di  Storia  Patria  per  le  provincie  modenai, 
1899,  vol.  ix;  F.  Manfredini,  Delle  arii  del 
disegno  e  degli  artisti  della  provincia  di  Modena  dal  1777  al  1862,  Modena,  1862  ;  L.  Vedriani, 
Raccolla  del  pittori,  scullori  ed  archiietli  modenesi,  Modena,  1662;  A.  Venturi,  La  scoltura 
emiliana  del  Rinascimento.  i:  Modena  in  Archivio  Storico  dell' Arte,  1889;  A.  Venturi,  / 
primordi  del  Rinascimento  artistico  a  Ferrara  in  Rivista  Storica  italiana,  1884;  A.  Venturi, 
L'Arte  a  Ferrara  nel  periodo  di  Borso  d'Este,  ibid.,  1886;  A.  Venturi,  Beitrdge  zur  Geschichle 
der  Ferrarischen  Kunst  in  Jahrh.  der  Konigl.  Preuss.  Kunstsammlungen,  viii,  71  ;  G.  Gruyer, 
L'Art  ferrarais  a  I'epoque  des  Princes  d'Este,  Paris,  1897;  G.  A.  Landi,  Raccolta  di  alcune 
facciate  di  palazzi  e  cortili  pid  ragguardevoli  di  Bologna,  Bologna,  n.  d. ;  A.  Bolognini  Amorini, 
Vite  dei  pittori  ed  artifici  bolognesi,  Bologna,  1841-42;  A.  Bertolotti, /Ir/wW  bolognesi,  ferraresi 
ecc.  del  gid  Stato  Pontificio  in  Roma  nei  sec.  XV-XVIII,  Bologna,  1885  ;  F.  Malaguzzi-Valeri, 
La  scultura  a  Bologna  nel  400  in  Repertorium  fiir  Kunstwissenschaft,  xxii ;  F.  Malaguzzi-Valf  ri, 
L'Architettura  a  Bologna  nel  Rinascimento,  Rocca  S.  Casciano,  1899;  F.  Malaguzzi-Valeri, 
Le  terrecotte  bolognesi  m  Emporium,  1899,  x;  H.  Semper,  F.  O.  Schuize,  and  W.  Barth,  Carpi, 
Dresden,  1882;  L.  Orsini,  Imola  e  la  valle  del  Santerno,  Bergamo,  1907;  G.  B.  Venturi, 
Notizie  di  artisti  reggiani,  Modena,  1 882 ;  F.  Malaguzzi-Valeri,  Notizie  di  artisti  reggiani, 
Reggio  Em'lia,  1 892 ;  G.  Marcello  Valgimigli,  Dei  pittori  e  degli  artisti  faentini,  Faenza,  1 869 ; 
L.  M.  V.  T.,  /  castelli  del  Piacentino:  Torano,  Rezzano  e  Monte  Santo,  Piacenza,  1901  2; 
L.  Marinelli,  Le  rocche  d'Imola  e  di  Forh  in  Emporium,  1904;  A.  Rubbiani,  La  facciata  dello 
Spirito  Santo  in  Val  d'Aoosa,  Bologna,  1904;  Ch.  Yriarte,  Les  arts  a  la  cour  des  Malatesla  au 
XV  Slide  in  Gazette  des  Beaux  Arts,  2,  xix,  19  ;  Yriarte,  Un  condottiere  au  XV  siecle.  Rimini, 
Paris,  1882;  V.  Lonati,  Sigismondo  di  Pandolfo  Malate-ita  in  Emporium,  niv,  1901  ;  L.  Mari- 
nelli, La  rocca  Malatestiana  di  Cesena,  Reggio  Emilia,  1907;  C.  Ricci,  //  castello  di  Torchiara 
in  Santi  ed  Artisti,  Bologna,  1910;  L.  Cerri,  //  castello  di  Montechiaro,  Piacenza,  1699; 
A.  Colasanti,  Due  novelle  del  Boccaccio  nella  pittura  del  Quattrocento  in  Emporium,  1904; 
E.  Burmeister,  Der  bilderische  Schmuck  des  Tempio  Malatestiano  zu  Rimini,  Breslau,  1891  ; 
A.  Higgins,  Notes  on  the  Church  of  St.  Francis  or  Tempio  Malatestiano  at  Rimini  in  A  rchaologia, 
1892;  C.  Grigioni,  /  costruttori  del  tempio  Malatestiano  in  Rimini.  Matteo  de'  Pasti,  in  Ra.^.^. 
bibl.  dell'arte  ital.  1908-9-10;  G.  Mancini,  Leon  Battisla  Alberti,  Florence,  1882;  E.  Londi, 
Leon  Battista  Alberti  architetto,  Florence,  1906;  Per  Leon  Battisfa  Alberti,  numero  unico, 
Bologna,  1904  ;  R.  Cessi,  //  so-rgiomo  di  Lorenzo  e  L.  B.  Alberti  a  PadoOa  in  Arch.  Star.  Ital., 
1 909  ;  C.  Grigioni,  Matteo  Nuti  in  La  Romagna,  vi,  Forb,  1 909  ;  C.  Cesari,  La  chiesa  di  Fomo 

288 


EMILIA 


in  Rassegna  J' Arte,  1909;    C.  Crigioni,  Per  la  sloria  dell' Arte  in  Forli  in  Boll.  Jella  Societd 

/ra  gti  amici  deU'Arte  per  la  Prooincia  di  Forli,   1895,   n.   4:    L.  Arduini.    Gli  scultori  del 

Tempio  Malalestiano  di  Rimini,  Rome,   1 907 ;    A.  Pointner,  Die  Werke  des  Florentinischen 

Bildhauers  Agosiino  d' Antonio  di  Duccio,  Strasbuig,  1909;   G.  Grauss,  //  Duomo  di  Faenza, 

Faenza,    1891  ;    G.   Agnelli,   //   palazzo    di    Lodooico    il   Moro   a   Ferrara,   Ferrara,    1902; 

A.  Maiaguzzi-Valeri,  La  chieza  delta  Ma- 
donna   di    Galliera    in    Bologna   in    Archivio 

Storico    deU'Arte,     1893;      A.     Rubbiani,     // 

conoento    olioetano    di    S.    Michele    in    Bosco 

sopra    Bologna  in   Archivio   Storico    dell' Arte, 

viii,    1895;     A.    Rubbiani,    La   facciata    della 

Santa    in    Bologna    in     Rassegna    d'Arte,    v, 

1905;    F.   Malaguzzi-Valeri,   La   chiesa    delta 

Santa  a  Bologna  in  Arc/iioio  Storico  deU'Arte, 

X,  1897  ;  G.  Zucchini,  La  facciata  del  Palazzo 

del    Podesld,    Bologna,     1909;      L.    Sighinolfi, 

L'architettura    bentiooleaca     in    Bologna    e     il 

Palazzo  del  Podesta,  Bologna,  1909;  L.  Bel- 
trami, Aristoiele  da  Bologna,  Milan,  1888;    F. 

Malagola,    Delle    cose    operate    in    Mosca    da 

Aristotele     Fioravanti,     Bologna,      1877;      F. 

Malaguzzi-Vederi,   La  chiesa  e   il  convento    di 

S.   Giovanni  in  Monte  a  Bologna  in  Archivio 

Storico  deU'Arte,  x'-   A.  Bacchi  della  Lega,  La 

chiesa  di  S.    Giovanni  in  Monte    a    Bologna, 

Bologna,    1904;    E.   Ravaglia,    //  portico  e   la 

chiesa  di  S.   Barlolomeo    in    Bologna  in   Bol- 

lettino     d'arte    del    Minister o    della    Pubhlica 

Instruzione,  iii,   1909;    N.    Pelicelli,   La  chiesa 

della  Steccata,  Parma,   1901  ;    A.  Ronchini,  // 

Torchiarino    da    Parma    in    Atti   e    memorie 

delle  Provincie  Parmensi,  vd.  iii ;   L.  Scarabelli, 

Smeraldo     Smeraldi      ingegnere      parmigiano, 

Parma,  1 845 ;    A.  Coma,  Storia  ed  A  rte  in  S. 

Maria   di  Campagna    di   Piacenza,   Bergamo, 

1908;   L.  Marinelli,  La  Rocca  Brancaleone  in 

Ravenna,    BcJogna,    1906;    C.    Ricci,    Monu- 

menti    veneziani  nella  Piazza  di  Ravenna   in 

Rivista  d'Arte,  Rorence,   1905;    C.  Ricd,  La  statua  di   Guidarello  Cuidarelli  in  Emporium, 

xiii,   1901  ;    Palrizi,  //  Giambologna,  Milan,   1905;    W.   Bode,  Le  opere  di  Niccolo  dell' Area 

in  L'Arte,  ii,   1899;    C.  von   Fabriczy,    Niccold   dall'Arca,   Sonderabdruck   aus   dem  Beiheft 

zum  Jahrbuch  der  KOnigl.  Preussischen  Kunstsamml.,   1898,    19;    L.  Aldovrandi,  //  sepolcro 

di  S.  Maria  della  Vita  in  Bologna  e  Niccolo  dall'Arca  in  L'Arte,  ii,   1899;    F.  T.  Bonora, 

Intorno  alia  cappeUa   nella  quale  si  venera  il  sepolcro  del  S.  P.  Domenico,  Bologna,   1 883 ; 

F.  T.  Bonora,  L  'area  di  S.  Domenico 
e  Michelangelo,  Bologna,  1875; 
A.  Venturi,  Di  un  insigne  artista 
modenese  del  sec.  XV :  Cuido 
Mazzoni  in  Archivio  Storico  italiano, 
1887;  A.  Moschetti,  Parziale 
ricupero  di  un  capolavoro  del  Maz- 
zoni in  L  'A  rte,  x,  Rome,  1 907  ; 
W.  Bode,  Sperandio  Mantavano; 
A.  Venturi,  Sperandio  da  Mantova 
in  Archteio  Storico  deU'Arte,  i, 
1 888 ;  C.  Malagola,  Di  Sperindio 
.  .  .  in  Faenza  in  Atti  e  Memorie 
della  R.  Deputazione  di  Sloria 
Patria  per  le  provincie  di  Romagna, 
«erie  iii,  vol.  i,  Bologna,  1883;  H. 
Mackowsky,  Sperandio  Mantovano 
in  Jahrb.  der  KOnigl.  Preuss. 
Kunstsamml,  xix,  171;  N.  Mal- 
vezd,  Alessandro  V  papa  a  Bologna 
(with  a  note  by  A.  Rubbiani  upon 
the  tomb  <rf  Alexander  V),  Bologna, 
1893;    G.    Franciosi,    Dell'animo   e 

dell'arte  di  Antonio  BegareUl,  Modena,  1879;    A.  Rubbiani,  Un'opera  ignorala  di  Vincenzo 

Onofrio  in  Arch.  Stor.  deU'Arte,  viii,  Rome,  1895  ;  Adolfo  Gottschewski,  Ueber  die  Portreits  der 

Catertna  Sforza  und  aber  den  Blldhauer  Vincenzo  Ono/ri,  Straiburg,  1908;   E.  Ridolfi,  La 


FIG.    485. — MONUMENT  TO   LEO   XI. 
(AL.    ALGARDI.) 

S.  Peter's,  Rome.     (Photo.  Anderson.) 


FIG.   486. — RESURRECTION  OF  CHRIST. 
(ALFONSO   LOMBARDI.) 

S   Petronio,  Bologna.     (Photo.  deW Emilia.) 


289 


u 


ART  IN  NORTHERN  ITALY 

data  Jella  morte  di  Alfonso  Lombard!  in  Archivlo  Slorico  dell' Arte,  viii,  1895;  W.  BraghiroIU, 
Alfonso  Ciltadella  in  Atli  e  Memorie  della  R.  Accademia  Virgiliana,  Mantua,  1874-78; 
A.  Saffi,  Delia  oita  e  delle  opere  di  M.  Properzia  de'Rossi,  Forli,  184(3;  M.  A.  Gualandi, 
Memorie  intomo  a  Properzia  de'Rossi  Scullrice,  Bologna,  1854;  G.  Ferrari,  Bartolomeo  Spani 
mL'Arte,  1899;  F .  Fovtanesi,  Di  Prospero  Spani  detto  il  Clemenle,  Reegio,  1826;  R.  Coteleni, 
Prospero  Spani,  Reggio  Emilia,  1 903  ;  C.  Campori,  Ricordi  di  Giuseppe  Obici  scultore  modenese, 
Modena,  1865;  F.  Piece,  Alessio  Tramello,  architetto  da  Piacenza,  Emporium  for  Jan.,  1910; 
E.  Coulson  James,  Bologna,  London,  1909, 


290 


FIG.   487. — DUCAL   PALACE,    NOW   THE   MILITARY   SCHOOL,   MODENA.        (PkolO.  AHnaH.) 


CHAPTER  XXII 


EMILIA 


Architecture  from  the  time   of  Vignola  to  the  Nine- 
teenth Century 

Jacopo  Vignola  and  Sebastiano  Serlio. —  The  Tihaldi  or  Pellegrini  Family. —  The  Bibiena 
Family. —  The  Scenographic  School  of  Bologna. — Architeclure  at  Modena  and  Reggio 
Emilia. — G.  B.  Aleotti. — E.  Petiiot  at  Parma. — A  tchitects  of  Romagna. —  The  Neo-classic 
Movement. — Giov.  Franc.  Bonamici  and  Luca  Danesi. 

In  the  domain  of  architecture,  from  about  the  middle  of  the 
sixteeiith  century  onwards,  Emiha  takes  a  more  important  position, 
and  this  was  more  especially  due  to  a  man  of  genius  who  was 
born  in  the  heart  of  the  country — Jacopo  Barozzi  (1507-1573), 
known  as  Vignola,  from  the  place  of  his  birth  in  the  territory  of 
Modena.  His  canon  of  the  **  live  orders,"  together  with  the  books 
on  architecture  by  the  Bolognese  Sebastiano  Serlio  (1475-1552, 
Fig.  488),  were  the  manuals,  we  might  almost  say  the  codes, 
whence  the  architects  of  all  Europe  derived  their  theoretical 
knowledge.  But  Vignola,  although,  like  all  his  contemporaries,  he 
regarded  the  writings  of  the  classic  Vitruvius  with  the  greatest 
reverence,  was  anything  but  a  dry  and  methodical  "  Vitruvian. 

291  u2 


ART  IN  NORTHERN  ITALY 


i^:r-:^2^ 


FIG.    488. WINDOW    OF   THE 


In  his  works  he  showed  himself  a  versatile 
artist,  gifted  with  a  vigorous  imagination, 
one  who  succeeded  in  freeing  himself  from 
the  Michelangelesque  tradition,  and  in  pro- 
ducing works  of  original  inspiration.  At 
first  he  applied  himself  to  painting  at 
Bologna,  but  seeing  that  he  derived  little 
profit  from  this  art,  "  he  turned  his  whole 
attention  " — so  Ignatio  Danti  tells  us — "  to 
the  study  of  architecture  and  of  perspective," 
and  in  these  departments  he  before  long 
manifested  all  the  brilliancy  of  his  genius. 
Thence  he  passed  on  to  Rome,  to  trace 
the  canons  of  Vitruvius  in  the  monuments 
of  antiquity,  and  after  that  to  France, 
together  with  Primaticcio,  who  was  in- 
debted to  him  for  the  perspective  drawings 
which  he  turned  to  account  in  his  paintings 
at   Fontainebleau.     Later  on   he   returned 

PALAZZO  coMUNALE,  BOLOGNA,  {q  Bologna,  as  architect  to  the  church  of 
iPhoto.  dell-Emilia.)  S.  Petronio,  being  charged  with  the  prep- 

aration  of  a   design  for   the  facade.     But 

he  was  not  prepared  to  waste  his  time  in  sterile  contentions  with 

malignant  opponents,  although  he  had  the  support  of  Giulio  Romano 

and    of    Cristoforo    Lom- 

bardo.  So,  meantime,  "  he 

proceeded  with  incredible 

labour  with  the  construc- 
tion of  the  ship  canal  at 

Bologna";    he  also   built 

the    imposing    Palazzo 

Bocchi  (I  545)  in  the  same 

city,  and  the  tower  of  the 

Palazzo    Isolani    at    Mi- 

nerbio.       After     this    he 

returned  to   Rome  at  the 

.summons   of   Pope   Julius 

III,  for  whom  he  built  the 

charming    suburban    villa 

known  to  this  day  as  the 

Villa  Giulia.     After  the  death  of  this  Pope  he  entered  the  service 

of  Cardinal  Farnese,  for  whom  he  designed  two  buildings  that  have 

292 


FIG.    489. PALAZZO    FARNESE,    CAPRAROLA. 

(Photo.  Moscioni.) 


EMILIA 


—CISTERN  ACCADEMIA,  BOLOGNA. 

(Plwto.  dell'EmUia.) 


become  famous — the  gigantic  and 
magnificent  palace  at  Caprarola 
(Fig.  489),  and  the  church  of 
the  Gesii.  With  this  Caprarola 
palace  and  its  colossal  unfinished 
pendant  at  Piacenza,  Vignola 
created  a  type  of  building  which 
has  been  nearly  always  adopted 
by  the  Farnese  family — hence  the 
term  Famesian. 

During  the  remainder  of  the 
sixteenth  century  and  throughout 
the  two  following  centuries  a  suc- 
cession of  architects  flourished  in 
Emilia,  who,  if  none  of  them  rose 
to  the  level  of  Vignola,  have 
adorned  the  land  with  many 
notable    buildings.      At   Bologna 

we  find  first  Antonio  Morandi,  known  as  Terribilia  (d.  1  568),  the 
architect  of  the  Archiginnasio,  and  of  the  Marconi  (formerly  Orsi) 
and  Marescotti  Palaces;  then  his  nephew  Francesco  (d.  1603), 
who  designed  the  graceful  cistern 
formerly  in  the  Semplici  garden 
(Fig.  490),  but  now  preserved 
in  the  Accademia  di  Belle  Arti ; 
Bartolomeo  Triachini,  who  designed 
the  austere  court  of  the  Palazzo 
Celesi,  now  the  University  (Fig. 
491),  and  also  the  frowning  Pa- 
lazzo Malvezzi-Medici.  The 
earliest  member  of  the  Tibaldi  or 
Pellegrini  family  of  artists  is  Ti- 
baldo,  who  built  the  convent  of 
S.  Gregorio.  His  son  Pellegrino 
(1527-1597),  of  whom  we  have 
already  spoken  at  some  length  on 
page    165,    and    to    whom,    as    a 

f)ainter,  we  shall  have  to  return 
ater  on,  did  not  work  much  in 
Bologna   as   an    architect,   but   the 

imposing  facade  of  the  above  mentioned  Palazzo  Celesi  would  suffice 
to  establish  his  reputation  in  this  branch  ;  here  the  classical  forms  are 

293 


FIG.    491. — COURT   OF    THE    UNIVERSITY, 

BOLOGNA.     {Plwlo  dell' Emilia.) 


ART  IN  NORTHERN  ITALY 


FIG.    492. S.    MARIA    DELLA    VITA, 

BOLOGNA.     {Photo.  deW Emilia.) 


interpreted  with  a  masterly  liberty, 
perhaps  due  to  his  painter's  point 
of  view.  His  brother  Domenico 
erected  many  more  buildings,  per- 
haps of  equal  grandeur,  but  cer- 
tainly not  in  such  good  taste ;  we 
have  evidence  of  this  in  the  Palaz- 
zo Malvezzi-Campeggi  (formerly 
Magnani),  which  has  a  cramped 
look  with  its  heavy  mouldings,  to 
say  nothing  of  the  portico  of  the 
Gahella,  and  the  palace  of  the 
Archbishop,  buildings  simple  in 
outline,  but  rather  ponderous. 

In  the  seventeenth  century  the 
skill  and  activity  of  the  Bolognese 
architects  appear  to  slacken  to 
some  extent.  Nevertheless,  such 
notable  architects  flourished  as  Bartolomeo  Provaglia  (d.  1672),  to 
whom  we  owe  the  vigorously  conceived  Porta  Galliera  and  the 
Palazzo  Davia-Bargellini  (Fig.  493),  and  the  Padre  G.  B.  Ber- 

gonzoni  (1628-1692),  the  builder 
of  S.  Maria  della  Vita  (Fig.  492)  ; 
to  this  church  a  cupola  was  added 
a  century  later  by  that  Giuseppe 
Tubertini  who,  in  the  hall  for  the 
Giuoco  del  Pallone  (1822),  gave  a 
touch  of  classic  feeling  to  his  design, 
in  perfect  harmony  with  the  athletic 
exercise  for  which  the  building  was 
destined. 

It  was  in  the  seventeenth  century 
also  that  the  long  series  of  the 
Bibiena  family  started  in  Bologna : 
they  were  builders  of  palaces  and 
churches,  but  more  notably  designers 
of  theatres  and  of  theatrical  decora- 
tion ;  as  such  they  were  very  famous 
and  in  request  at  all  the  courts  of 
Europe.  It  was  with  them  that  the 
scenographic  school  of  Bologna  attained  to  its  greatest  splendour,  a 
school  that  began  with  Serlio  and  ended  with  Francesco  Cocchi 

294 


FIG.    493. PALAZZO    DAVIA-BARGELLINI, 

BOLOGNA.     {Photo,  dell' Emilia.) 


EMILIA 


-THEATRICAL    SCENE.       (g.    BIBIENA.) 

(From  an  Engraving.) 


(1788-1865).  Valentino  Solmi  (1810-1866),  and  Domenico  Ferri 
(1808-1865)  ;  the  last  of  these  went  to  Paris  about  the  year  1850, 
and  played  an  important 
part  in  the  revival  of 
French  scenography. 

We  begin  with  Giovanni 
MariaGani(1619-1665). 
known  as  Bibiena  {sic), 
who,  along  with  his  family, 
made  his  way  to  Bologna 
from  his  native  town  of 
Bibbiena,  not  far  from 
Arezzo,  to  study  under 
Albani.  His  sons  were 
Ferdinando  (1657-1743) 

and  Francesco  (1659-1  739)  ;  Ferdinando  was  the  father  of  Giuseppe 
(1696-1756)  and  Antonio  (1700-1774);  Antonio  of  Alessandro 
(d.  1760);  Giuseppe  of  Carlo  (1725-1787).  The  first  of  the 
great  theatrical  artists  of  this  family  was  Ferdinando  who,  after 
passing  through  the  studio  of  Carlo  Cignani,  turned  his  attention  to 
architecture,  and  together  with  Mauro  Aldobrandini  (1649-1680), 

Placed   himself   under  Giacomo   Antonio   Mannini   (1646-1732). 
le  then  made  a  triumphal  progress  through  foreign  capitals,  and  it 

would  be  impossible  to  follow  his 
steps  and  those  of  other  members 
of  his  family  without  devoting  a 
volume  to  the  task.  Francesco 
meantime  did  not  confine  himself 
to  architectural  work  in  canvas, 
paper  and  wood.  He  erected, 
among  other  buildings,  in  his  native 
town,  the  beautiful  Arco  del 
Meloncello  (Fig.  495),  the  grace- 
ful curves  of  which  accentuate  the 
junction  of  three  roads.  Antonio, 
however,  was  the  most  eminent 
member  of  the  family.  His  scenic 
arrangements  were  regarded  as 
marvels  by  his  contemporaries,  and 
we  may  still  admire  his  decorative 
work  and  his  theatres,  of  which  he  built  a  great  number,  both  in  Italy 
and  abroad  ;  among  the  few  of  these  that  survive,  the  most  important 

295 


■^'^mipfcyfa  ■  V* 

.  ,  ^  ^ 

-^n 

FIG.    495. — ARCO   DEL  MELONXELLO, 

BOLOGNA.     (Photo.  dell'Emilia.) 


ART  IN  NORTHERN  ITALY 


^^^P^^  "'^^3^^^ 

iifP9 

HG.    496. — MADONNA    DI    SAN    LUCA, 

BOLOGNA.     {Photo.  tUW Emilia.) 


is  the  Teatro  Comunale  at  Bologna 
(1756). 

If,  as  we  have  said,  the  general 
aspect  of  Bologna  had  served  to 
promote  the  taste  for  scenographic 
effect  among  the  native  artists,  the 
prevalence  of  this  taste  has  in  its 
turn  proved  an  incentive  to  the 
construction  by  the  architects  of 
ambitious  and  boldly  conceived 
buildings.  We  have  evidence  of 
this  in  the  vv^ork  of  Alfonzo  Torre- 
giani  (d.  1  764),  more  especially  in 
the  Rusconi  and  Montanari  (for- 
merly Aldrovandi)  Palaces ;  in  that  of  Carlo  Francesco  Dotti  (d. 
I  780),  who  crowned  the  Guardia  hill  so  majestically  with  the  Church 
of  the  Madonna  di  S.  Luca  (Fig.  4%),  and  in  that  of  Angelo 
Venturoli  (1  749-1825),  in  the  atrium  of  whose  Palazzo  Hercolani 
(Fig.  497)  we  find  a  classical  scene  in  the  manner  of  Basoli  or  of 
Cocchi.  Nor  should  we  forget  that  this  last  architect  had  as  a 
pupil  Giuseppe  Mengoni  (1 82 /-1 877) — also  of  Emilian  birth — who 
shows  the  boldness  of  the  scene- 
painter  in  his  Galleria  (Fig.  288) 
at  Milan,  and  in  the  Savings  Bank 
at  Bologna  (Fig.  498).  Another 
pupil  of  Venturoli  was  Tito  Azzolini 
(1837-1907),  the  architect  of  the 
Scalea  della  Montagnola  at  Bologna 
and  of  the  Savings  Bank  at  Pistoia. 
For  the  most  imposing  buildings 
at  Modena,  that  is  to  say,  for  the 
Ducal  Palace  (1635,  Fig.  487) 
and  the  Collegio  di  S.  Carlo  (1 664), 
we  are  indebted  to  a  great  Roman 
architect,  Bartolomeo  Avanzini ; 
but  there  has  been  no  lack  of  good 
artists  in  the  city  and  surrounding 
district ;  nor  was  the  pseudo- 
classical  period  deficient  in  archi- 
tects. Reggio  owes  its  theatre  to 
a  Modenese  architect,  and  it  was  an  artist  of  Ferrara,  Alessandro 
Balbi,  who  commenced  the  imposing  church  of  the  Madonna  della 

296 


FIO.    4Q7. PALAZZO    HERCOLANI, 

BOLOGNA.      {Pholo.   dell' Emilia.') 


EMILIA 


FIG.   498. — SAVINGS  BANK,   BOLOGNA. 

{Plwlo  dell' Emilia.') 


Ghiara  (1 597,  Fig.  499).     Regglo, 

however,    claims    Francesco    Pac- 

chioni,   who  completed   the  work, 

and  was  also  the  architect  of  the 

Benedictine  monastery  ;   and  above 

all,     Gaspare     Vigarani      (1586- 

1663),  who,   thanks  to  his  expe- 
rience    as     a     scene-painter,     was 

master  of  a  vivacity  of  composition 

which  is  shown  in  his  designs  for 

the    Oratory    of    S.    Girolamo    at 

Reggio  (1646),  for  the  church  of 

S.  Giorgio  at  Modena,  and  for  the 

Villa  Malmusi  (Fig.   501)  in  the 

neighbourhood  of  that  city. 

Ferrara    boasts    other    excellent 

architects,  in  addition  to  Balbi.    But 

the  most  celebrated  among  them — 

perhaps  the  only  man  of  real  distinction — is  G.  B.  Aleotti  (1546- 

1636),   known   as   Argenta  from   the  charming  little  city  in   the 

Ferrara  district  that  gave  him  birth.     For  more  than  twenty  years 

he  was  in  the  service  of  the  Duke 
Alfonso  II.,  and  then  in  that  of 
the  civic  authorities  of  Ferrara. 
He  superintended  with  skill  works 
of  hydraulic  and  military  engineer- 
ing, and  meantime  built  the  fa9ade 
of  the  Gesii  church,  and  the  church 
of  S.  Carlo,  as  well  as  the  Teatro 
degl'Intrepidi,  a  building  much 
admired  by  his  contemporaries, 
which  was  burnt  to  the  ground  in 
1679,  But  as  a  compensation  we 
still  have  his  famous  Teatro  Farnese 
at  Parma  (Fig.  500),  still  admired 
as  one  of  the  largest  and  most 
beautiful  in  Europe,  and  of  interest 
because  the  architect  combined 
certain  classical  elements  derived 
from  ancient  theatres  with  mod- 
ern requirements,  erecting  rows  of  boxes  above  the  semi-circular 

tiers     of    seats,    and    arranging    the    opening    of    the    stage    and 

297 


no.   499. — MADONNA   DELLA  GHIARA, 

REGGIO  EMILIA.     (Photo.  Fatituzzi.) 


ART  IN  NORTHERN  ITALY 


FIG.  500. — FARNESE  THEATRE,  PARMA. 

{Photo.  Alinari.) 


the  drop-scene  above  the 
cavaea. 

Parma  commissioned 
Alessi  to  build  the  majestic 
Jesuit  College,  now  the 
University ;  but  w^e  must 
not  infer  from  this  that 
there  vv^ere  no  good  na- 
tive architects  among  the 
citizens.  The  presence  of 
Ennemond  Petitot  in  the 
eighteenth  century  has  in- 
deed helped  to  give  a  cer- 
tain French  air  of  gaiety 
to  the  city;  to  him  v^e 
owe  the  laying  out  of  the  "  Stradone,"  a  basilica  of  trees,  the 
Palazzo  del  Govemo,  the  facade  of  S.  Pietro,  and  finally  the 
enlargement  of  the  Palazzo  del  Giardino,  built  in  1 564  by  Giovanni 
Boscoli.  The  buildings  erected  at  the  instance  of  Marie  Louise, 
chief  among  which  is  the  Teatro  Regio  (1621)  by  Nicola  Bettoli 
also  contribute  not  a  little  to  the  pleasing  and  aristocratic  air  of 
Parma. 

At  Piacenza  again  the  restrained  and  harmonious  buildings  of  the 
Renaissance  alternate  with  such  imposing  erections  as  the  church 
of  S.  Agostino  (1570)  and  the  Mandelli  and  Marazzani-Visconti 

palaces ;  but  we  do  not 
know  the  architects  of  these 
buildings.  Lotario  Tomba, 
however,  is  the  acknowl- 
edged author  of  the  fa9ade 
of  the  Palazzo  del  Govemo 
(1781).  Passing  from 
Bologna  towards  Ro- 
magna  we  see  no  change 
in  the  character  of  the 
architecture.  Every  city 
here  boasts  artists  of  dis- 
tinction. At  Imola,  in  ad- 
dition to  Lorenzo  and 
Cosimo  Mattoni,  we  find 
Cosimo  Morelli,  one  of  the  most  prominent  architects  of  Romagna 
in  the  eighteenth  century ;  he  built  the  church  of  S,  Agostino  in  his 

298 


FIG.    501. — VILLA   MALMUSI,    NEAR  MODENA. 

{Photo.  Fanluzzt.) 


EMILIA 


FIG.    502. — CATHEDRAL,    RAVENNA 

{Photo.  Ricci.) 


native  city  and  recon- 
structed or  altered  S.  Cas- 
siano  and  the  Palazzo 
Comunale.  Faenzais 
justly  proud  of  the  fountain 
erected  by  Domenico 
Castelli  (at  work  1621), 
who  derived  his  sobriquet 
of  Fontanino  from  this 
work.  Inrthe  next  century 
it  produced  Giuseppe 
Pistocchi,  the  designer  of 
such  elegant  buildings  as 
the  Gessi  and  Magnanuti 
Palaces  in  Faenza  and  of  the  cupola  of  the  cathedral  at  Ravenna 
(Fig.  502).  At  Forli  the  Baroque  period  produced  several 
churches  and  a  multitude  of  palaces.  Frate  Giuseppe  Merenda 
(at  work  1722-1770),  who  built  the  churches  of  the  Carmine  and 
of  the  Suffragio,  as  well  as  the  hospital  and  chapel  of  S.  Pelle- 
grino,  was  one  of  the  most  distinguished  architects  of  this  town. 
In  neo-classic  times  Giulio  Zambianchi,  who  rebuilt  the  cathedral 
in  1 84 1 ,  was  a  notable  figure.  At  Cesena  we  find  the  Theatine, 
Matteo  Zaccolini,  who  died  of  the  plague  in  1 630 ;  in  addition 
to  being  an  architect,  he  was  a  distinguished  master  of  perspec- 
tive,  and  as  such   the  teacher  of  Poussin  and  of  Domenichino. 

At  Rimini,  Giovanni 
Francesco  Bonamici  (d. 
1  759)  had  a  great  reputa- 
tion ;  his  buildings  at  Pe- 
saro  also,  and  at  Fano, 
Sinigaglia  and  Ravenna, 
have  a  certain  majesty  ;  but 
it  is  difficult  to  forgive  him 
the  destruction  of  many 
admirable  ancient  buildings 
in  order  to  make  room  for 
his  own  productions.  For 
its  theatre  Rimini  is  in- 
debted to  the  Modenese 
architect  Luigi  Poletti 
(1792-1869),  better  known  as  the  restorer  of  S.  Paolo  at  Rome,  a 
majestic  but  inanimate   work,    than   for  his  other   really  elegant 

299 


FIG.    503. — CHURCH   OF   THE   ANNUNZIATA,   PARMA. 

{Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


FIO.    504. S.    PAOLO    FUORI    LE   MURA,    ROME. 

{Photo.  Alinari.) 


buildings.  Ravenna  num- 
bers among  the  best  of  her 
architects  Bernardino 
Tavella,  who  produced  a 
work  of  real  grandeur  in 
the  interior  of  S.  Maria  in 
Porto  (1553).  Luca 
Danesi  (1598-1672)  is 
the  reputed  architect  of 
the  Palazzo  Rasponi  delle 
Teste,  a  building  erected 
more  than  thirty  years 
after  his  death !  How- 
ever, the  Theatine  church 

of  S.  Maria  della  Pieta  at  Ferrara  gives  a  good  idea  of  the  solid 

nature  of  his  art.     On  the  other  hand,  we  have  in  Ravenna  many 

beautiful  examples  of  the  work  of  Morigia  (1743-1795),  who  also 

built  the  facade  of  the  cathedral  of  Urbino.    In  the  facade  of  S.  Maria 

in   Porto   (Fig.    505),   in 

spite  of  a  tendency  to  Ba- 
roque overloading  in  parts, 

he  shows  his  first  strivings 

towards    that    neo-classic 

ideal     of    repose    which 

he    successfully    achieved 

in     the     Fabbrica     dell' 

Orologio. 

It  may  be  thought  that 

I    have    dwelt    somewhat 

unduly  on  a  period  that 

has  been  neglected  hitherto 

by  our  art  historians.    But 

the  contempt  with  which 

the  buildings   of   this  age 

have  been  regarded,  and  the  oblivion  into  which  its  architects  have 

lapsed,  are  giving  way  before  a  renewed  interest,  which  cannot  be 

ignored. 

BIBUOGRAPHY    OF    CHAPTER    XXII. 

For  general  works  on  the  art  of  EjniKa,  guides  to  cities,  &c.,  see  the  bibliography  to  Chapters 
XX  and  XXI. — Crespi,  Vite  dei  pittori  bolognai,  Bologna,  1769:  Pascoli,  Vite  del  piltori, 
scullori  ed  architetti  moderni,  Rome,  1736;  G.  P.  Zanotti,  Storia  dell'Accademia  Clementina  in 
Bologna,  Bologna,  1 739 ;  A.  Ricci,  Storia  dell'architettura  italiana ;  Gurlitt,  Geschichle  des 
Barockstils  inttalicn;  O.  Raschdorff,  Palasl  Archilektur  von  Oberilalien  und  Toscana  von  XIII 

300 


FIG.    505. — S.   MARIA   IN  PORTO,   RAVENNA. 

(Photo.  Ricci.) 


EMILIA 

his  XVII  Jahrhundert;  Memorie  estuJi  inlorno  a  Jacopo  Barozzi,  Vignola,  1908  (see  espedeJly 
the  chapter  containing  an  ample  bibliography  of  Vignola)  ;  C.  Fabriczy,  review  of  the  work  of 
Willich  upon  Vignola  in  Repertortum,  1 908 ;  L.  Sighinolfi,  //  oero  archiletto  del  palazzo  dd 
Banchi  in  Rata  del  Carlino  for  Dec.  25,  1909;  A.  Ronchini,  Giovanni  Boscoli  e  la  Pilotta  in 
Atti  e  Memorie  delta  R.  Deputazione  di  Sioria  Patria  per  le  Provincie  Modenesi  e  Parmensi,  iii, 
1864;  D.  Bandi,  Giambattista  Aleolti  archiletto,  Argenta,  1878;  Glauco  Lombardi,  //  teatro 
Famese  in  A  rchivio  Slorico  delle  Prooincie  Parmerai,  ix,  Parma,  1 909 ;  Scaletta,  //  Fonte 
pubblico  di  Faenza,  Faenza,  1904;  M.  Valgimigli,  La  torre  delForologio  e  il  fonte  pubblico  di 
Faenza,  Faenza,  1873;  A.  Messeri  and  A.  Calzi,  Faenza  nella  Sioria  e  neU'Arte,  Faenza, 
1909  :  D.  Manzini,  Sioria  dell'insigne  basilica  di  S.  Prospero  in  Reggio  Emilia,  Reggio  Emilia, 
1880;  C.  Campori,  Biografia  di  Luigi  PoleUi,  Modena,  1881;  L.  Amadesi,  La  Metropolilana, 
di  Ravenna,  Bologna,  1 748  ;  F.  Mordani,  Uomini  illuslri  di  Ravenna  in  Operette,  i,  Florence, 
1874. 


301 


FIG.    506. — ADORATION   OF   THE   MAGI.      (FRANCIA.) 

Dresden  Gallery. 


CHAPTER   XXIII 

EMILIA 

The  Painting  of  the  Fourteenth  and  Fifteenth 
Centuries 

The  Three  Great  Centres  of  Painting,  Ferrara,  Bologna,  and  Parma.  —  Byzantine 
Decoration  in  the  Baptistery  of  Parma. — Fourteenth  Century  Painters. — Lippo  di 
Dalmasio.- — Tommaso  and  Barnaba  da  Modena. — Serafino  Serafini. — Marco  Zoppo. — The 
School  of  Ferrara. —  Cosmi  Tura,  Fr.  del  Cossa  and  Ercole  Roberti. — B.  Parenzano. — 
Fr.  Bianchi-Ferrara. — Mazzolino. — L'Ortolano. — L.  Costa  at  Bologna  and  Mantua. — • 
Francla.--Timoteo  Viti. — Conflicting  Tendencies  Among  Minor  Painters. — Melozzo  daForli. 

Emilia  has  had  three  great  centres  of  painting :  Ferrara, 
Bologna,  and  Parma.  But  seeing  that  the  influence  of  each  of  these 
centres  has  at  times  extended  over  nearly  the  whole  of  the  region, 
nay,  at  certain  moments  over  the  w^hole  of  Italy,  and  has  even 
passed  the  frontier,  it  vv^ill  be  well  to  examine  them  in  relation  one 
to  another  and  in  accordance  with  the  development  of  the  various 
schools  and  their  various  fortunes. 

In  former  days,  extensive  remains  of  Romanesque  painting  were 
to  be  found  in  this  district,  but  of  the  so-called  Byzantine  frescoes 
on  the  cupola  of  S.  Vitale  at  Ravenna  and  of  those  in  the  Santo 
Sepolcro  at  Bologna,  to  say  nothing  of  those  on  the  facade  of  the 
cathedral  at  Reggio,  little  or  nothing  now  survives.  The  sole  really 
imposing  work  of  this  kind  still  in  existence  is  the  decoration  of  the 
cupola  of  the  Baptistery  at  Parma.     However,   here  and   there, 

302 


EMILIA 


FIG.    507. — DEATH   OF   THE   VIRGIN. 
(GIOV.    and    PIETRO   da   RIMINI.) 

S.  Maria  in  Porto  Fuori,  Ravenna. 
{Photo.  deW Emilia.') 


in  many  parts  of  Emilia,  we  come 
upon  examples  of  Romanesque 
frescoes  that  suffice  for  the  deter- 
mination of  the  artistic  and  techni- 
cal qualities  of  the  school,  and 
provide  us  with  the  names  of  a 
few  artists. 

Notable  groups  of  fourteenth 
century  painters  are  to  be  found 
above  all  in  Romagna.  Here  we 
have  Baldassarre  (at  work  1354), 
and  Guglielmo  of  Forli ;  Ottaviano 
and  Pace  of  Faenza ;  Giuliano 
(already  at  work  in  1307),  Pietro 
and  Giovanni  Baronzio  of  Rimini 
(flourished  about  the  middle  of 
the  fourteenth  century) ;  all  these 
artists  worked  from  the  Marches 
(Urbino  and  Castel  Durante)  to 
Bologna,  to  Ferrara  (where,  in  1 380,  we  find  Laudadio  Rambaldo), 
and  to  Pomposa.  At  Ravenna  in  the  church  of  S.  Maria  in  Porto 
Fuori  (Fig.  507)  they  have  left  us  what  are  perhaps  the  most  notable 
examples  of  their  capabilities,  both  as  regards  execution  and  sentiment. 
At  Forli  and  at  Faenza  the  grand 
example  of  Giotto  appears  to  have 
been  followed  more  directly,  while 
at  Rimini  we  find  rather  an  echo  of 
the  painters  of  the  Marches,  more 
especially  the  decorators  of  the  great 
chapel  of  S.  Nicholas  at  Tolentino. 

The  contemporary  school  of  Bo- 
logna appears  to  have  been  of  even 
less  importance.  Among  the  many 
painters  the  only  prominent  names  are 
Vitale  Cavalli,  known  as  "delle 
Madonne"  (at  work  1340-1359, 
Fig.  508),  Jacopo  Avanzo(Fig.  509), 
and  above  all  Lippo  Scannabecchi 
(1352?-1415?)-the  son  of  Dal- 
masio,  also  a  painter  (1324-1390?) 
— who  has  attained  to  a  greater  rep- 
utation and  has  given  his  name   to 

303 


' '  .^^^^^^^^^^^^^^P^t 

Z 

H/^l 

m 

^^BH^^^^*«j '^"-^ J 

i 

FIG.    508. — VIRGIN   AND   CHILD. 
(vitale    CAVALLI.) 

Gallery,  Bologna. 
{Photo.  dclV Emilia.) 


ART  IN  NORTHERN  ITALY 


FIG.    50Q. CRUCIFIXION. 

(JACOPO    AVANZO.) 

Palazzo  Colonna,    Rome. 


the  school  (Fig.  510).  But  Lippo,  even 
in  his  last  years,  remained  faithful  to  the 
formulae  of  the  trecento,  while  on  the 
other  hand  Bittino  of  Faenza  (at  work 
1398-1409,  Fig.  511)  has  left  us  at 
Rimini  good  evidence  of  his  attempts  at 
an  improved  style. 

But  the  most  notable  of  all  the 
Emilian  painters  of  the  trecento  are  the 
Modenese.  We  have  already  spoken 
of  Tommaso ;  at  Treviso  we  may  see 
paintings  by  him  admirable  for  their 
realistic  tendency  and  for  their  nobility 
of  sentiment  (see  p.  40).  Less  monu- 
mental in  character,  but  not  less  lofty, 
was  the  work  of  Barnaba  (Fig.  512), 
who,  in  1367,  is  mentioned  with  the 
title  of  painter,  in  the  will  of  his  father 
Ottobello.  Barnaba  did  not  find  scope 
for  his  activity  in  his  own  country  ;  he  pitched  his  tent  in  other  lands 
and  finally  took  up  his  abode  in  Genoa,  where  there  are  records 
of  him  as  late  as  1 383.  Serafino  Serafini  also  (at  work  1 348-1 385, 
Fig.  513)  left  his  native  city  for  Ferrara, 
but  perhaps  returned  to  Modena  and 
passed  his  last  years  there ;  of  this  we 
seem  to  have  evidence  in  the  great  altar- 
piece  he  painted  for  the  cathedral,  a  work 
finished  in  1384. 

Two  of  the  best  of  the  fourteenth  century 
paintings  in  the  Baptistery  at  Parma  (here, 
however,  Romanesque  work  predominates) 
are  by  Niccolb  da  Reggio  (at  work  1363- 
1377)  and  by  Bertolino  da  Piacenza.  But 
enough  of  the  fourteenth  century ! 

Nor  need  we  linger  over  the  painters 
of  the  first  half  of  the  following  century. 
Many  names  are  recorded  and  many  works 
of  the  period  survive  ;  but  we  know  nothing 
of  the  productions  of  the  former,  and  the 
latter  are  for  the  most  part  indifferent. 

Emilia  owes  it  to  the  school  of  Padua 
that  her  painting  was  definitely  detached 

304 


FIG.    510. — CORONATION   OF 

THE  VIRGIN. 

(lippo  DI  DALMASIO.) 

Gallery,  Bologna. 

{Photo,  dell' Emilia.) 


EMILIA 


from  the  exhausted  formulae  of  the  trecento  and  vigorously  launched 
into  naturalism.  It  was  by  Squarcione  that  the  Bolognese  painter 
Marco  Zoppo  (1433-1498,  Fig.  515)  was  formed;  he  went 
to  Squarcione's  studio  at  the  age  of  twenty  and  remained  with 
him  a  little  more  than  two  years,  after  which  we  find  him  at 
Venice.  He  also  studied  the  work  of  Tura,  and,  like  all  the 
young  artists  who  at  that  time  flocked  to  Padua,  the  powerful 
art  of  Donatello.  His  manner  is  not  so  weak  as  it  appears  to  some. 
Above  all  we  must  recognise  in  him  a  marked  personality  which 
distinguishes  him  from  his  fellow  artists,  as  well  as  much  energy  in  his 
research  of  form  and  character,  a  research  that  in  his  day  amounted 
to  a  beneficent 
mission  ;  it  was  a 
reaction  against  the 
feebleness  of  the 
old  painting.  But 
the  battle  was 
fought  out  more 
completely  by  the 
painters  of  Ferrara, 
where  a  remark- 
able school  of 
painting  was  in 
course  of  forma- 
tion, a  school  which 
combined  the  forms 
of  Pisanello,  of 
Squarcione,  and  of 
Pier  della  Fran- 
cesca,  with  the  most  independent  manifestations,  while  preserving 
a  vigorous  northern  stamp  that  was  all  its  own.  It  was  by  these 
men  rather  than  by  Zoppo  that  the  new  birth  of  painting  at  Bologna 
and  at  Modena  was  brought  about.  Apart  from  the  severe  and 
Squarcionesque  Bono  da  Ferrara,  who  flourished  about  1460 
fFig.  514),  we  recognise  as  the  founders  of  this  remarkable  school 
Cosimo  Tura,  known  as  Cosme  (1429?- 1495),  Francesco  del 
Cossa  (1435-1477)  and  Ercole  Roberti  (1450?-1496y 

There  can  be  little  doubt  that  Cosimo  encountered  Mantegna 
at  Padua  while  the  latter  was  working  in  the  church  of  the 
Eremitani,  and  that  he  drew  strength  from  the  study  of  that  artist's 
resolute  figures ;  he  was  filled  with  admiration  for  what  we  may 
call   the  scientific  spirit,   the  love  of  perspective  and  of  antique 

305  X 


K 

li. 

L*    "W*^  '       "''^      '"■■     .^■^■11 

mk^A^ 

«  >  /"^  /  ^^^_.  >j^BB^^^H^ 

imml 

Hr'lvliiK  )r^  '^  yit^^B^^B^^ 

511. — EPISODES     IN    THE    LIFE    OF   S.    JULIAN. 

(bittino  da  FAENZA.) 
S.  Giuliano,  Rimini.     (Pltoto.  Alinari.) 


ART  IN  NORTHERN  ITALY 


FIG.    512. — VIRGIN    AND    CHILD. 

(barnaba  da  MODENA.) 

Estense  Gallery,  Mcxiena. 

{Photo.  Alinari.) 


beauty  which  was  universal  at  Padua  at 
this  time.  In  return,  Borso  appointed 
Cosimo   his   ducal   painter,    and   from 

,„_.„,^ this   time  forth,   sought   after   and   re- 

K    _^B^^MFw^9M       nowned,  he  worked  at  a  long  series  of 
■Lj^fV  J^I^K^^agi  frescoes,  pictures  of  sacred  subjects,  and 

■|y^P*^=^^^^-  portraits.      His   works,    like   all   crude 

I -fcj^        ^  ^'  rendering  of  truth,  give  little  pleasure 

'    ^V^  ^f  on  first  acquaintance.    An  uneasy  spirit, 

as  Adolf o  Venturi  has  said,  he  "con- 
fines the  lineaments  of  his  heads  between 
strongly  marked  zygomic  arches,  and 
so   stretches   and    moulds   his   closely- 
fitting  metallic  draperies  to  the  body 
that    the    muscles    seem    strained,    the 
veins  distended,   and   the  skin   drav^ 
tightly  over  the  bones  of  his  figures." 
However,    as   we   gradually   penetrate 
into  the  spirit  of  this  great  painter,  we 
discover    treasures    of    kindliness    and 
beauty  that  fascinate  us  at  last.     Few  works  of  the  time  bear 
the   impresss   of    these    qualities    more   strongly  than  his  Annun- 
ciation in  the  cathedral  at  Ferrara  (Fig.  516). 

The  activity  of  Tura  was 
almost  entirely  confined  to  work 
executed  at  Ferrara  for  the  Este 
family :  that  of  Cossa  and  of 
Roberti,  on  the  other  hand, 
was  shared  between  that  city 
and  Bologna ;  they  worked 
now  for  the  Este,  now  for  the 
Bentivoglio  princes. 

Cossa's  visit  to  Bologna  may 
be  referred  to  the  year  1470. 
At  that  time,  though  little  over 
thirty,  he  had  already  a  con- 
siderable reputation.  When 
very  young  he  had  modelled  in 
clay,  but,  passing  to  the  art  of 
painting,  he  had  advanced  with 
giant  strides,  triumphing  notably 
in  his  work  at  the  Schifanoia, 


no.    513. — POLYPTYCH.      VIRGIN  AND  SAINTS. 
(SERAFINO   SERAFINI.) 

Cathedral,  Modena.     (Pholo.  Anderson.) 


306 


EMILIA 


FIG.    514. — S.    JEROME.       (bono 
DA    FERRARA.) 

National  Gallery,  London. 
{Photo.  Anderson.) 


where  one  whole  wall  still  attests  his 
vigour,  his  fertility,  and  the  felicity  of 
his  genius.  The  frescoes  he  painted 
in  the  palace  of  the  Bentivoglio  at 
Bologna  had  completely  perished  as 
early  as  1  507,  together  with  those  of 
Costa  and  of  Francia ;  and  the  like 
fate  has  befallen  the  frescoes  begun 
by  him  and  finished  by  Roberti  in 
the  Garganelli  chapel  in  the  cathe- 
dral. On  the  other  hand,  Bologna 
still  preserves  a  picture  by  him  in  the 
Baraccano  church,  and  in  the  picture 
gallery  a  tempera  painting,  broad  and 
impressive  in  style,  but  of  such  a 
rugged  realism  that  we  cannot  but 
wonder  it  should  be  the  work 
of  the  same  hand  as  the  frescoes  in 
the  Schifanoia,  the  predella  of  the 
Vatican,  and  other  works,  in  which  he  combines  elaborate  treat- 
ment with  a  charming  sense  of  beauty. 

The  art  of  Cossa,  in  contradiction  to  the  general  belief,  had 
numerous  imitators.  At  Bologna  we  have  proof  of  this  in  a  number 
of  tempera  paintings  in  S.  Petronio  and  in  S.  Giovanni  in  Monte 

and  at  Modena  in  the  works  of  the     , 

Erri  family,  and  of  Bartolomeo 
Bonascia  (at  work  1468,  d.  1527), 
the  author  of  the  powerful  PieCa 
in  the  Galleria  Estense  (Fig.  5 1  7), 
painted  in  1485.  We  thus  see  that 
the  origin  of  the  second  school  of 
Modena  is  to  be  sought  at  Ferrara  and 
more  particularly  in  Cossa.  Nor  is  the 
presence  in  this  school  of  elements  de- 
rived from  Pier  della  Francesca  and 
from  Squarcione  to  be  regarded  as  evi- 
dence against  this  statement,  for  these 
are  also  constituent  elements  of  the 
Ferrarese  school.     In  support  of  this 

opinion  we  have  documentary  evi-     1 

dence,  showing  the  close  artistic  rela-       fig.  515.— pieta.   (marco  zoppo.) 
tions  between  Modena  and  Ferrara.       Ateneo,  Pesaro.    {Photo.  AUnaH.) 

307  x2 


ART  IN  NORTHERN  ITALY 


FIG.    Sl6. ANNUNCIATION. 

(COSME  TURA.) 

Cathedral,  Ferrara.     (Pliolo.  Alinari.) 


Among  the  various  families  of 
painters  which  flourished  at  this 
time  in  Modena,  that  of  the  Erri 
takes  a  prominent  position  ;  notable 
examples  of  their  work  are  the  altar- 
piece  in  the  Galleria  Estense  (Fig. 
522)  and  some  frescoes  in  the 
abbey  of  Nonantola.  The  former 
was  painted  by  Agnolo  (at  work 
1449-1465)  and  by  Bartolomeo, 
who  survived  to  a  later  date,  and 
who  continued  the  frescoes  in  the 
palace  of  Borso  d'Este  at  Sassuolo. 
Benedetto  (at  work  1436-1453) 
and  Pellegrino  (1454-1497)  ap- 
pear to  have  worked  in  the  same 
manner,  while  a  little  later  on, 
Annibale  was  a  follower  of  Costa 
and  of  Francia. 
Ercole  Roberti  (1440?- 1496)  was  a  less  tortuous  and  rugged 
painter  than  Tura  or  Cossa,  but  he  was  their  equal  in  imagination, 
vivacity,  and  nobility  of  sentiment.  The  Pala  Portuense  (altar-piece 
from  S.  Maria  in  Porta  Fuori,  Ravenna,  Fig.  519)  of  the  Brera 
(the  predella  is  at  Dresden),  painted  in  1480,  is  his  most  important 
surviving  work ;  in  view  of  this  painting  we  can  well  believe  that 
the  praise  given  by  Vasari  to  the  lost  frescoes  in  the  Cappella 
Garganelli   in   Bologna   is   in   no   way   exaggerated.     Ercole   was 

painter    to    the    Duke    of 

Ferrara,  in  receipt  of  high 
payment,  and  the  favourite 
of  Eleonora  of  Aragon, 
of  Cardinal  Ippolito,  and 
of  the  young  Alfonso,  who 
took  him  with  him  to 
Rome.  In  1490  he  was 
commissioned  to  design 
the  magnificent  decora- 
tions for  the  marriage  of 
Isabella  d'Este. 

A    prolific    and    indus- 
trious     pamter,      ixoberti         fig.  517. — pieta.    (bartolomeo  bonascia.) 

executed    many    works    in  Estense  Gallery,  Modena.     {Photo.  Alinari.) 

308 


EMILIA 


-    < 

^g^m^'^^\ 

'$ 

f^-iMB^'^ 

FIG.    518. — FEMININE   PURSUITS. 

(franc,  del  COSSA.) 

Schifanoia  Palace,  Ferrara. 

{Photo.  Anderson.) 


the  course  of  his  short  Ufe.  In 
these  the  characteristic  leanness  of 
his  figures  serves  to  accentuate  the 
dramatic  agitation  that  informs 
them.  He  exercised  a  varied  but  un- 
mistakable influence  upon  many  of 
his  contemporaries  ;  upon  Bernardo 
Parenzano  or  Parentino  for  in- 
stance (see  p.  101),  an  eclectic 
spirit,  who  also  owed  something  to 
Mantegna  and  to  Domenico  Mo- 
rone  ;  upon  the  Modenese,  Fran- 
cesco Bianchi-Ferrari,  known  as 
Frare  Ui  work  1481-1510),  an 
artist  who,  in  spite  of  the  searching 
severity  of  his  types,  did  not  neglect 
the  expression  of  sentiment ;  of  this 
we  have  better  evidence  in  his 
Crucifixion  in  the  Galleria  Es- 
tense  (Fig.  520)  than  in  his  An- 
nunciation, which  was  finished  by  Gian  Antonio  Scaccieri ;  upon 
Michele  Coltellini,  who  flourished  between  1 490  and  1  520 ;  and 
even  upon  such  famous  artists  as  Costa  and  Francia. 

Lodovico  Mazzoli,  known  as  Maz- 
zolino  (1478-1528),  who  also  owed 
something  to  Boccaccino  (see  above, 
p.  192),  produced  an  infinite  num- 
ber of  little  pictures,  careful  in  execu- 
tion, rich  in  colour  and  full  of  anima- 
tion ;  but  he  constantly  repeated 
himself,  and  his  types  are  often 
grotesque.  On  the  other  hand, 
Gian  Battista  Benvenuti,  known  as 
Ortolano,  an  artist  who  at  the  first 
had  some  affinity  with  him,  soon 
revealed  himself  as  a  man  of  quite 
another  fibre,  distinguished  by  a 
spirit  of  grandeur  and  by  a  dramatic 
intensity  of  colour ;  his  solemn  De- 
scent  from  the  Cross  (Fig.  523),  in  the 
Borghese  Gallery,  may  be  ranked  as 
one  of  the  most  notable  productions 

309 


FIG.  510. — ALTAR-PIECE. 
PALA  PORTUENSE.  (ERCOLE  ROBERTI  ) 

Brera,  Milan.     (Photo.  Anderson.) 


ART  IN  NORTHERN  ITALY 


FIG.    520. CRUCIFIXION.       (FRANCESCO 

BIANCHI-FERRARI.) 

Estense  Gallery,  Modena.     (Photo.  Alinari.) 


of  the  school  of  Ferrara. 
The  Hfe  of  Ercole  Grandi 
(1465?-!  535?,  Fig.  521) 
was  prolonged  to  a  later 
date,  but  his  art  made  no 
advance ;  to  the  end  he 
remained  in  substance  a 
quattrocentist,  and  this  in 
spite  of  the  stronger  light 
with  which  he  suffused  his 
pictures  after  the  example 
of  Costa  and  of  Francia. 

It  was  these  last  painters 
who  initiated  a  new  and 
successful  period  of  art  in 
Bologna.  Lorenzo  Costa 
( 1 460- 1535)  made  his  way 
from  Ferrara  to  Bologna  in 
1483,  and  remained  there 
for  long,  indeed  up  to  the 
fall  of  the  Bentivoglio  family 
in    1 506,    after    which    he 

passed  on  to  Mantua  to  take  the  place  lately  occupied  by  Man- 

tegna.      The    old    Ferrarese    writers    make    him    the    master    of 

Francia ;   those  of  Bologna,  on  the  other  hand,  call  him  his  pupil. 

The   truth   is,    that   these   two    gave   each   other   mutual   support, 

working  together  amicably  in  various  places,  as  in  the  destroyed 

palace  of  the  Bentivoglio,  in  the  litde  church  of  S.  Cecilia,  in  the 

Misericordia  Church  and  elsewhere.    That  Costa  learnt  much  from 

Roberti  is  evident  from  his 

Triumphs   and   from    the 

portraits  of  the  family  of 

Giovanni    II    Bentivoglio 

(Fig.    525)   which   adorn 

the  chapel  erected  by  the 

latter  in  S.  Giacomo.     In 

course   of    time,    attracted 

by  the  grace  of  Francia, 

and  his  splendour  of  colour, 

he  modified  his  style.    His 

life  was  prolonged,  so  that  fig.  521.— pieta.    (ercole  grandi.) 

he   outlived    Leonardo,  Gallery,  Ferrara.     {Photo.  Anderson.) 

310 


EMILIA 


M 

M 

iiH 

giyii|ijhii!!iiiiti||ijil 

wm^m^KSSssstsmmmmami 

FIG.    522. — CORONATION    OF    THE    VIRGIN. 
(aGNOLO    and   BART.    ERRI.) 

Estense  Gallery,  Modena. 
(Photo.  Alinari.) 


Raphael,  and  even  Correggio,  but 

in  his  later  years  he  had  not  suffi- 
cient vigour  to  master  the  "modern 

manner."     Thus  it  happened  that 

his  passage  to  Rome  in  1  503  had 

absolutely   no   influence   upon   his 

essentially  conservative  spirit.  How- 
ever,   Costa    is    a    pleasing    artist, 

never  wanting  in  nobility   in  his 

aims ;     he    is    indeed    now    and 

then  somewhat  common-place  and 

slovenly   in   his   composition,    but 

when  treating  simple  subjects,  he  is 

well  balanced,  and  even  at  times 

rises  to  a  certain  grandeur,  as  we 

may    see    in    his    great    panel    in 

the  Cappella  Baciocchi  in  S.  Pe- 

tronio  (1492),  a  work  which,  for 

vigour  of  colour  above  all,  appears 

to   me   his   masterpiece.     He   also 

painted  some  good  portraits,  and  in  landscape  excelled  Francia 

himself. 

The  art  of  Ferrara,  as  a  whole,  was  great  in  its  method,  in 

its  searching  endeavour  for  a  stern  realism,  but  it  is  at  times  hard, 

not  to  say  brutal.  It  seems  almost 
to  contemn  any  assistance  from  senti- 
ment or  pure  beauty.  It  is  as  a 
consequence  of  this  that  Francia, 
who  succeeded  in  fusing  a  sweet 
and  expressive  charm  with  the 
technical  elements  of  the  school,  in 
the  end  overshadowed  the  fame  of 
his  predecessors,  who  had  prepared 
the  way  for  him  by  their  firm 
adherence  to  their  artistic  principles, 
Francesco  Raibolini  was  born  in 
Bologna  about  1450  and  died  there 
in  1517;  his  name,  Francia,  is 
merely  an   abbreviation  or  corrup- 

tion,  usual  at  the  time,  of  Francesco. 

FIG.  523.-PIETA.    (oRTOLANo.)         ^   rcfitted   and   versatile   artist,   he 
Borghese  Gallery,  Rome.  (PA<»to.  ^wAriow.)  painted  on  panels,  on  walls  and  on 

311 


ART    IN    NORTHERN    ITALY 


FIG.    524. VIRGIN    AND    CHILD    WITH 

SAINTS.       (fRANCIA.) 

Gallery,  Parma.     {Photo.  Alinari.) 


glass,  he  cut  dies  for  coins,  he  en- 
graved nielli,  and  as  a  goldsmith  pro- 
duced some  exquisite  works.  Inde- 
fatigable as  a  craftsman,  within  a 
period  of  twenty  years  of  labour,  he, 
like  Raphael,  did  the  work  of  four 
men,  and  gathered  around  him  a 
swarm  of  pupils  attracted  by  his  fame 
both  as  an  artist  and  as  a  kind  and 
accomplished  master. 

As  a  painter  Francia  excelled  in 
the  enamelled  smoothness  of  his 
colour,  a  manner  of  painting  to 
which  he  adhered  even  after  the  intro- 
duction of  new  technical  methods,  and 
in  the  expression  of  sentiment,  but  his 
resources  were  not  great  and  his 
imagination  was  limited  (Fig.  506). 
Yet  when  we  gaze  upon  his  Ma- 
donnas, with  their  sweet,  dreamy  faces,  so  full  of  feminine  suavity 
and  of  tranquil  piety,  we  learn  to  love  him  (Fig.  524).  When, 
on  the  other  hand,  the  subject  calls  for  dramatic  vigour,  his  weak- 
ness is  manifest.     He  is  unable  to  synthesise  the  various  elements, 

and,  as  if  to  deceive  himself,  he 
loses  himself  in  a  thousand  de- 
tails ;  this  we  see  nowhere  more 
clearly  than  in  his  Burial  of  S. 
Cecilia.  But  this  does  not  lessen 
our  regret  for  the  loss  of  the  grand 
series  of  frescoes  by  him  which 
perished  with  the  Bentivoglio 
Palace. 

Among  the  pupils  of  Francia 
we  now  recognise  as  the  most 
important  his  son  Giacomo  (1485- 
1557);  his  nephew  Giulio  (d. 
I  540)  and  Timoteo  Viti  of  Urbino 
(1467-1524),  who  on  his  return 
to  his  native  town  became  the 
master  of  Raphael,  and  who  be- 
fore long  completely  changed  his 
style.  Gian  Maria  Cfiiodarolo  (at 
312 


FIG.    525. — THE   FAMILY   OF  GIOVANNI 
BENTIVOGLIO.      (LORENZO   COSTA.) 

Church  of  S.  Giacomo,  Bologna. 
{Photo,  ddl' Emilia.) 


EMILIA 


FIG.    526. S.    AUGUSTINE   BAPTISED    BY 

S.    AMBROSE.       (AMICO   ASPERTINI.) 

Church  of  S.  Frediano,  Lucca. 
{Photo.  Alinari.) 


work  1490-1520),  and  Amico 
Aspertini  (1474-1552,  Fig. 
526),  though  they  have  been 
described  as  disciples  of  Francia, 
were  rather  imitators  of  Costa, 
and  as  regards  Aspertini,  of 
Roberti. 

Apart  from  these,  Pellegrino 
Munari  (1460?- 1523?  Fig. 
527)  of  Modena  is  noted  by 
Vasari  as  "the  ornament  of  his 
age."  He  was  at  first  a  follower 
of  Bianchi  and  then  of  Costa. 
Attracted  by  the  fame  of 
Raphael  he  betook  himself  to 
Rome ;  but  it  was  not  in  his 
power  to  change  the  style  of  his 
art  and  make  a  fresh  start;  on 
his  return  to  his  native  town  Munari  was  assassinated.  Mario 
Meloni  of  Carpi,  who  flourished  in  the  early  years  of  the  sixteenth 
century,  added  to  his  admiration  of  Francia  and  of  Costa  a 
reverence  for  Perugino.  An 
echo  of  the  art  of  the  two  great 
painters  of  the  Bentivoglio  regime 
reached  as  far  as  Parma,  with 
Gian  Freincesco  Maineri  (at 
work  1486-1504)  and  Ales- 
sandro  Araldi  (1460?- 1528), 
the  latter  an  indifferent  artist, 
who  also  borrowed  from  Man- 
tegna,  from  Leonardo,  from 
Raphael,  and  from  Pintoricchio, 
treasuring  up  motives  from  all 
these  painters  to  combine  them 
in  his  mediocre  works  (Fig. 
528).  In  general,  the  artists  at 
Parma  at  this  time  were  not 
successful  in  following  resolutely 
any  definite  artistic  direction,  but 
wasted  their  gifts  in  a  thou- 
sand tentative  efforts.  Benedetto 
Bembo    and    other    decorative 


FIG.    527. — VIRGIN    AND    CHILD    WITH    SAINTS. 
(pellegrino   MUNARI.) 


Church  of  S.  Pietro,  Modena. 
(Pholo.  Alinari.) 


313 


ART  IN  NORTHERN  ITALY 


FIG.    528. DISPUTE    OF    S.    CATHERINE. 

(AL.    ARALDI.) 

Cell  of  S.  Catherine,  at  Parma.     (Photo.  Anderson.) 


painters  introduced  the  manner  of  the  Cremonese  (see  p.    191); 

Francesco  Tacconi(d.  1 491  ?),  although  himself  a  native  of  Cremona, 

brought  in  that  of  the 
Bellini  (see  p.  56)  as 
did  also  Cristoforo  Caselli, 
known   as  Temperelli 

(1500?- 1521).  Filippo 
Mazzola  (1460?- 1505), 
as  a  portrait  painter  (Fig. 
529),  shows  himself  a 
clever  follower  of  Antonel- 
lo  da  Messina,  and  other 
artists  also  worked  on  the 
lines  of  the  Venetians. 
The  art  of  Jacopo  Loschi 
(1425?- 1504)  is  on  the 
other  hand  less  easy  to 
define.  Wavering  between 
the  various  currents, 
Loschi  is  perhaps  to  be 

regarded  as  the  pupil  of  Bartolomeo  Grossi  (d.  1468),  a  Cremo- 

nesque  painter ;  he  worked  with  him  for  some  time  and  married  his 

daughter ;    in  1 496  we  find  him  established 

at  Carpi  where  he  died.     He  had  brothers 

who  were  painters,  among  them  Giovanni, 

the  author  of  a  picture  still  in  existence  at 

Pesaro.     The  sons  of  Jacopo  remained  at 

Carpi  under  the  protection  of  the  Pio  family, 

and  it  was  there  that  Cosimo  and  Bernardino 

worked. 

In    like    manner,    in    Romagna,    painters 

seemed  at  this  time  unable  to  follow  any  defi- 
nite path  or  to  fuse  into  a  whole  the  various 

influences   that,    like   little   timid   streamlets, 

descended  to  them  from  the  Venetian  terri- 
tory, from  Bologna,  from  Tuscany,  and  from 

the  Marches.     At  first   we  find  Giovanni 

Francesco  da  Rimini  (at  work  1458-1471, 

Fig.  530)  following  the  manner  of  Bonfigli  of 

Perugia ;    his  paintings  are  to  be  found  in 

all  the  tract  of  country  from  Bologna  as  far  as  Atri,  where  he 

worked  with  others  in  the  apse  of  the  Cathedral.    Then  at  Faenza, 

314 


FIG.    529. — PORTRAIT   OF   A 
MAN.     (F.    MAZZOLA.) 

Brera,  Milan. 
{Photo.  Alinari.) 


EMILIA 


FIG.    530. ANGELS    BRINGING    BREAD    TO    S.    DOMINIC 

AND    HIS    DISCIPLES.       (GIOV.    FRANC.    DA    RIMINI.) 

Ateneo,  Pesaro.     {Photo.  I.  I.  d'Arli  Graficke.) 


where  a  crowd  of  minor  artists  made  their  Hving  by  decorating  the 
famous  ceramic  wares,  we  find  Leonardo  Scaletti  (who  died  before 
1495,  Fig.  531)  wavering 


between  Pier  della  Fran- 
cesca  and  the  Ferrarese ; 
Giovanni  da  Oriolo  (or  da 
Riolo,  at  work  1449- 
1461),  an  adherent  of  the 
latter  school ;  and  at  a 
later  time  G.  B.  Utili  (at 
work  1505-1  5 15),  faithful 
to  the  example  of  Pollaiolo, 
of  Verrocchio  and  of  Ghir- 
landaio  (Fig.  533). 

At  Ravenna  the  in- 
fluence of  Bellini  dies  out 
with  Rondinelli.  It  is  in- 
deed impossible  to  admit 
that  Bernardino  (1460?- 1509)  and  Francesco  ZaganeHi  (1465?- 
1531),  known  as  Cotignola  from  the  place  of  their  birth,  derived 
their  art  from  his  school ;  their  works  reveal  distinctly  the  influence 
of  Ferrara,  more  especially  that  of  Ercole  Roberti,  as  well  as  that  of 
Palmezzano  of  Forh. 

Among  the  painters  of  Romagna,  however,  only  one  great  artist 
is  to  be  found — Melozzo  degli  Ambrosi,  more  commonly  known  as 

Melozzo  da  Forli  (1438- 
1494).  In  the  past  various 
opinions  have  been  current 
concerning  the  origin  of 
Melozzo's  art.  Of  late, 
the  reasonable  opinion  has 
gained  ground  that  Melozzo 
was  trained  in  the  studio  of 
Pier  della  Francesca  who, 
we  know,  had  worked  at 
Rimini  and  in  the  adjacent 
Marches.  There  is  also  an 
undeniable  affinity  between 
the  art  of  Melozzo  and  that 
of  Justus  of  Ghent,  and  we 
have  proof  of  this  in  the  attribution,  now  to  the  one  painter  and 
now  to  the  other,  of  certain  allegorical  figures  of  Music,  of  Rhetoric, 

315 


FIG.    531. — VIRGIN   AND   CHILD    WITH    SAINTS. 
(LEONARDO   SCALETTI.) 

Gallery,  Faenza.     (Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


FIG.    532. — VIRGIN    AND    CHILD    WITH 

SAINTS.       (franc,    and   BERNARDINO   DA 

COTIGNOLA.) 

Brera,  Milan. 
{Photo.  I.  I.  d'Arli  Grafiche.) 


of  Astronomy,  and  of  Dialectics 
(formerly  at  Urbino,  now  in  Berlin 
and  in  London),  as  also  of  the  por- 
trait of  Federico  da  Montefeltro 
with  his  son  Guidobaldo,  in  the 
Barberini  Gallery  at  Rome. 

It  is  not  unlikely  that  the  affinity 
between  the  works  of  the  two  men 
has  its  origin  in  the  fact  that  Piero 
influenced  both  of  them  ;  but  it  may 
also  be  possible  that  the  paintings  of 
Melozzo  made  an  impression  upon 
Justus.  Justus  made  his  appearance 
at  Urbino  in  1 473  ;  at  this  date 
Melozzo  was  thirty-six,  and  had 
already  completed  some  notable 
works ;  for  more  than  a  year  he 
had  been  employed  by  Sixtus  IV 
upon  the  great  decoration  of  the 
apse  of  the  church  of  the  Holy 
Apostles  at  Rome,  a  work  barbarously  destroyed  in  1711,  when  only 
a  few  fragments,  now  divided  between  the  Quirinal  and  the  Sacristy 
of  St.  Peter's,  were  preserved.  But 
the  painting  by  which  the  same  Pope 
was  pleased  to  record  the  founda- 
tion of  the  Vatican  library,  and  the 
appointment  of  Platina  as  librarian 
in  the  presence  of  four  other  per- 
sonages (Fig.  535),  still  survives  in 
Rome.  On  the  one  hand,  the  vigour 
with  which  each  figure  is  here  de- 
fined, gives  proof  of  the  surpassing 
power  of  Melozzo  in  the  searching 
rendering  of  character,  while  the 
Angel  of  the  Annunciation  in  the 
Uffizi,  and  the  angels  saved  from 
(he  church  of  the  Holy  Apostles 
(fig.  537),  on  the  other  hand, 
reveal  a  lofty  and  exquisite  feeling 
for  grace  and  beauty.  These,  to- 
gether with  the  paintings  on  the 
little    cupola    at    Loreto,    show    a 

316 


■•    533- — VIRGIN   AND   CHILD   WITH 
SAINTS.       (G.   B.   UTILI.) 

Accademia,  Ravenna. 
(Photo.  I.  I.  d'Arli  Grafiche.) 


EMILIA 


knowledge  of  perspective  worthy  of  a 
follower  of  Piero. 

Unfortunately,  Melozzo  did  not  found 
such  a  school  as  might  have  been  hoped 
for.  His  pupil  and  assistant  Marco 
Palmezzano  (1456-1538?,  Fig.  536) 
derived  indeed  from  him  a  certain 
solidity  of  colour  and  nobility  of  com- 
position, but  not  his  spirit  of  fresh  in- 
spiration and  of  vigorous  life.  Palmez- 
zano was  a  prolific  painter,  whose  work 
is  accurate  and  conscientious,  but  the 
soul  of  the  master  is  not  to  be  found  in 
his  figures.  Some  echo  of  Melozzo 
reached  the  Imola  painter,  Gaspare 
Sacchi,  who  died  after  I  52 1 ;  it  reached 
too  Baldassarre  Carrari,  the  younger 
(1460  ?-]  518?,  Fig.  534)-on  the 
whole  a  follower  of  Costa  and  of  Ron- 
dinelli — and,  by  way  of  Palmezzano,  was  transmitted  to  the  two 
Zaganelli ;  but  before  long  the  glorious  sound  died  away,  and  very 
different  voices  echoed  on  every  side. 


fig.  534. — virgin  and  chiu). 

(baldassarre  carrari.) 

Massari  Collection,  Ferrara. 


BIBUOGRAPHY  OF  CHAPTER  XXIII 

For  works  of  a  general  character  upon  the  art  oi 
Emilia,  guides  to  cities,  &c.,  consult  also  the  bibli- 
ography to  chapters  XX  and  XXI. — Vasari,  Le 
Vite;  Baldinucci,  Notizie  dei  professori  del  dixgno  ; 
Lanzi,  Storia  pittorica  ;  Rosini,  Storia  delta  pittura 
italiana ;  Crowe  and  Cavalcaselle,  Hhlor\)  of 
Painting  in  Italy;  Meyer,  Allgemeines  KOnstler 
Lexikon  ;  U.  Tliieme  and  F.  Becker,  Allgemeines 
Lexikon  der  bildenden  KOnstler;  J.  Burckhardt, 
Le  Cicerone ;  Morelli,  Le  opere  dei  maestri 
italiani;  MoT^i,  Delia  pittura  italiana;  Berenson, 
North  Italian  Painters  of  the  Renaissance;  C. 
Ricci  in  Die  Calerien  Europas,  L.eipsic,  1909; 
Venturi,  Storia  dell' Arte  italiana,  v ;  Malvasia, 
Felsina  pittrice,  Bologna,  1841  ;  C.  Ricci,  La 
pittura  romanica  nell'Emilia  e  gli  affreschi  sulle 
arche  dl  S.  Giacomo  in  Bologna,  Bologna,  1886; 
C.  l^derchi.  La  pittura  fer rarest,  Ferrara,  1857; 
G.  Baruffaldi.  Vite  de'  piitori  e  scullori  ferraresi, 
Ferrara,  1846-48;  A.  Spinelli,  Versi  del  Quattro- 
cento  e  del  Seicento  attinenti  a  pittori  o  a  cose 
d'arle  tratti  da  mss.  estensi,  Carpi,  1892  ;  F. 
Ceretti,  Biografie  Mirandolesi,  Mirandda,  1901- 
1905  ;  Campori,  Notizie  dei  miniatori  del  princlpi 
estensi  in  Atti  e  Memorie  della  R.  Deput.  di 
Storia  Pairia  per  le  provincie  Modenesi  e  Par- 
mensi,  1872;  Hermann,  Zur  Geschichte  der 
Minialurmalerei  am  Hofe  der  Este  in  Jahrbuch 
der    Kunathtsl.    Sammlungen    der  Allerhnchdin 

317 


FIG.    535. — SIXTUS   IV.    APPOINTS  PLATINA 


HIS     LIBRARIAN.       (mELOZZO     DA 

Vatican  Gallery,  Rome. 
(Photo.  Alinari.) 


forl'i.) 


ART  IN  NORTHERN  ITALY 


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1896  ;  F.  Malaguzzi-Valeri,  /  codici  miniall  di  Nicold  di  Giacomo  da  Bologna  e  della  sua  scuola 
in  Bologna  in  Aiti  e  Memorie  della  R.  Depulazione  di  Storia  Pairia  per  la  Romagna,  1892  ;  F. 
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la  Romagna,  \898;  l^.  Ciaiccio,  A ppunti  inlorno 
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da  Bologna  in  Rasxgna  d'Arte,  1909;  V. 
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padooana  del  sec.  XV  con  illuslraziorK  e  note 
di  Andrea  Moschetti,  Venice,  1909;  Brach, 
Gioltos  Schule  in  der  Romagna,  Strasburg, 
1902;  Vitzthum,  Ueber  Gioltos  Schule  in  der 
Romagna  in  Kunstgeschichttiche  Gesellschaft 
Silzungsherichl,  iii,  1905;  F.  Hermanin,  Gli 
affreschi  di  G.  Baronzio  da  Rimini  e  dei  suoi 
xguaci  in  Tolentino  in  Bollett.  della  Societd 
filologica  romana,  vii,  1 905  ;  T.  Gerevich,  SuW 
origine  del  rinascimento  pittorico  in  Bologna  in 
Rasxgna  d'Arte,  vi,  1906,  and  vii,  1997  ;  G.  B. 
Costa,  Notizia  dei  pillori  riminesi,  Rimini,  1 762  ; 
L.  Tonini,  Di  Biltino  e  della  sua  laoola  di  S. 
Giuliano  in  Rimini  in  Alti  e  Mem.  della  Depul, 
di  Storia  Patria  per  le  Proo.  di  Romagna,  ii, 
Bologna,  1866;  F.  Malaguzzi-Valeri,  Pittura 
reggiana  nel  QuatlrocerUo  in  Rasxgna  d'Arte, 
iii,  1 903  ;  Burlington  Fine  Arts  Club,  Illustrated 
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degli  Estensi  nel  xc.  XV,  Modena,  1886;  A. 
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opere  di  pittori  modenesi  che  si  conseroano  nella  Galleria  degli  Uffizi  in  Firenze,  Modena,  1845  ; 
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nel  Catalogo  di  Bernardo  Berenson  in  L'Arte,  1908;  G.  Frizzoni,  Arte  Italiana  del  Rinaxi- 
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318 


FIG.    536. — CRUCIFIXION. 

(m.  PALMEZZANO.) 

Ufl5zi,  Florence.     {Pholo.  Anderson.) 


EMILIA 


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Ferrari m  L'Arte,  i,  1898;  Frizzoni,  //  Museo  Borromeo 
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Venturi,  Un  quadro  di  Bernardo  Parenzano  in  L'Arte, 
1898,  357;  A.  Venturi,  Appunti  sul  Museo  Cioico  di 
Verona  in  Madonna  Verona,  1907,  n.  1  ;  A.  Munoz, 
Dipinti  di  Bernardino  Parenzano  nel  Museo  Cioico  di 
Vicenza  in  Bollettino  d'A  rte,  ii,  7 ;  G.  Baruffaldi,  Vite 
di  Benedetto  Coda  e  Domenico  Panetti,  Padua,  1 847 ; 
G.  Baruffaldi,  Vita  di  Lodovico  Mazzolino,  Ferrara,  1 843 ; 
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dell' Arte,  iii,  1890:  A.  Venturi,  Lorenzo  Costa  in 
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Preuss.  Kunstsamml.,  xx,  159;  I.  A.  Calvi,  Memorie 
della  vita  e  delle  opere  di  Franc.  Raibolini  detto  il 
Francia,  Bologna,  1812;  T.  Gerevich,  Francesco  Francia 
in  Ross.  d'Arte,\m,  1908;  C.  Ricci,  La  Madonna  del 
Terremoto  dipinta  dal  Francia  in  Vita  Italiana,  1 897 ; 
L.  Frati,  Un  contralto  autografo  del  Francia  in  Nuova 
Antologia,  1907,  16;  Montgomery  Carmichael,  Francia's 
Masterpiece,  London,  1909;  G.  Cantalamessa,  II  Francia 
e  gli  eredi  del  Francia  in  Saggi  di  criiica  d'Arte,  Bologna, 
1 890 ;  E.  Jacobsen,  /  seguaci  del  Costa  e  del  Francia  a 
Bologna  in  L'Arte,  1905;  L.  Testi,  Sinmne  dei  Marti- 
nazzi  alias  Simone  delle  Spade  in  Arte,  viii,  1905;  A. 
Venturi,  Amico  Aspertini  in  Archioio  Storico  deU'Arte, 
iv,  I89I  ;  A.  Fabriczy,  Un  taccuino  di  Amico  Aspertini 
in  L'Arte,  viii,  1905;  A.  Ronchini,  //  pittore  Daniele 
da  Parma,  Parma,  n.  d. :  G.  F.  Fenari-Moreni,  Intomo 
a  un  dipinto  in  taoola  di  Pellegrino  Munari,  Modena, 
1867;     C.    Ricd,    Alessandro    e.    Josafat    Araldi    in 

Rassegna  d'Arte,  iii,  1903;  C.  Ricd,  Filippo  Mazzola  in  Napoli  Nobilissima,  vii,  1898;  A. 
Moschetti,  //  maestro  di  Filippo  Mazzola,  Padua,  1908;  Cioo.  Franc,  pittore  da  Rimini 
in  Bollettino  della  Societd  fra  gli  amid  deU'Arte  per  la  prooincia  di  Forli,  Forli,  1895, 
n.  2;  C.  Ricd,  Gioo.  Francesco  da  Rimini  in  Rassegna  d'Arte,  ii  and  iii,  1902-1903;  C. 
Malagola;  Memorie  Storiche  suite  maioliche  di  Faenza,  Bologna,  1880;  F.  Argnani,  Le 
ceramiche  e  maioliche  faentine,  Faenza,  1 889,  and  //  rinascimento  delle  ceramiche  maiolicate  in 
Faenza,  Faenza,  1898;  P.  Toesca,  Di  un  pittore  emiliano  del  Rinascimento  in  L'Arte,  x,  1907: 
C.  Ricd,  Un  gruppo  di  quadri  di  C.  B.  Utili  in  Rivista  d'A  rte,  iv,  1 906 :  C.  Ricd,  /  Cotignola 
in  Rassegna  d'A  rte,  iv,  1 904 :  P.  Gianuizzi,  A  ntonio  da  Faenza  m  Arte  e  Storia,  xiii,  1 894 : 
F.  Argnani,  Sul  pittore  Giovanni  da  Oriolo,  Faenza,  1 899 :  A.  Venturi,  /  pitlori  degli  Erri  o  del 
R.  in  Archivio  Storico  deU'Arte,  vii,  1894;  F.  Malaguzzi-Valeri,  Alcune  notizie  sui  pittori 
Maineri  in  Archivio  Storico  deU'Arte,  iv,  1891  ;  A.  Venturi,  Gian  Francesco  Maineri  da 
Parma  in  L'Arte,  x,  1907:  Alcune  memorie  intomo  al  pittore  Marco  Melozzo  da  Forli,  Forli, 
1834;  A.  Schmarsovr,  Melozzo  da  Forli,  Berlin,  1886:  Schmarsowr,  Ottaviano  Ubaldini  in 
Melozzos  Bild  und  Giovanni  Santis  Versen  in  Jahrb.  der  KSnigl.  Preuss.  Kunstsamml.,  viii,  67  ; 
C.  Grigioni,  Per  la  storia  della  pitta  ra  in  Forli  in  the  Bollettino  della  Societd  fra  gli  amid 
deU'Arte  per  la  Provincia  di  Forti,  1895,  no*.  5  and  9:  C.  Grigioni,  Notizie  biograjiche  su 
Melozzo  da  Forli  in  the  same  Bollettino,  Forli,  1895,  n.  1 1  ;  Notizie  inedite  di  Marco  Melozzo 
in  the  same  Bollettino,  1895,  n.  3 :  A.  Venturi,  Melozzo  da  Forli  in  the  same  Bollettino,  1894; 
nos.  7-8:  W.  Bode,  L'Astronomia  di  Melozzo  da  Forli  in  Jahrbuch  der  Ksnigl.  Preuss.  Kunst- 
sammlungen,  vii,  Berlin,  1886,  229:  E.  Muntz,  Les  peintures  de  Melozzo  da  Forli  et  de  ses 
contemporains  d  la  Bibliotheque  du  Vatican  d'apres  les  Registres  de  Platina  in  Gazette  des 
Beaux-Arts,  2,  xii,  369:  A.  Munoz,  Studi  su  Melozzo  da  Forli  in  Bollettino  d'Arte,  ii,  1908: 
E.  Calzini,  Memorie  su  Melozzo  da  Forli,  Forli,  1892:  G.  Cantalamessa,  L'affresco  deU'Annun- 
ziazione  al  Pantheon  in  Bollettino  d'Arte,  1909:  G.  Casati,  Intorno  a  Marco  Palmezzani, 
Forli,  1844:  E.  Calzini,  Marco  Palmezzano  in  Arch.  Stor.  deU'Arte,  vii,  1894:  C.  Grigioni, 
Baldassarre  Carrari  il  giovane  m  Arte  e  Storia,  xv,  1896:  C.  Campori,  Gli  artisti  italiani  e 
slranieri  nrgli  StaU  Estensi,  Modena,  1855:  M.  Caffi,  Dei  Canozzi  o  Genesini  Lendinaresi 
maestri  di  Legname  del  sec.  XV,  Lendinara,  1878. 


FIG.    537. — ANGEL.       (MELOZZO 
DA    FORLl.) 

Sacristy  of  S.  Peter's,  Rome. 
{Photo.  Anderson.') 


319 


FIG.  538. — C/ESAR  CAUSES  MEMORIALS  OF  POMPEY  TO  BE  BURNT.       (FRANC.  PRIMATICCIO.) 

Palazzo  del  Te,  Mantua.     {Photo.  Alinari.) 


CHAPTER    XXIV 


EMILIA 


The  Painting  of  the  Sixteenth  Century.     Correggio 

The  "New  Manner"  of  the  Renaissance  Painters. — Influence  of  Raphael  in  Emilia. — His 
Imitators  and  Disciples. — //  Garofalo. — Dosso  Dossi. — Birth  and  Early  Years  of  Correggio.  — 
Altar-piece  of  S.  Francesco. — Decoration  in  the  Convent  of  S.  Paolo. — His  Work  at 
Parma:  S.  Giovanni  Evangetista  and  the  Cathedral. — Characteristics  of  His  Art. — His 
Disciples,  Parmigianino,  Anselmi,  Rondani,  and Lelio  Orsi. 

Vasari  relates  that  Michelangelo  scoffed  at  the  work  of  Francia, 
and  that  meeting  with  one  of  the  artist's  sons,  a  very  handsome 
youth,  he  said  to  him : — "  The  figures  your  father  has  begotten  are 
more  beautiful  than  those  he  has  painted."  He  relates,  too,  of 
the  same  Francia  that  when  he  opened  the  case  containing  the 
S.  Cecilia  that  had  been  sent  him  by  Raphael  "so  great  was  his 
amazement  at  the  sight  of  it,  and  so  great  his  admiration  that, 
recognising  the  error  of  his  ways  and  the  foolish  presumption  of  his 
own  mad  confidence,  he  was  so  overwhelmed  with  grief  that  within 
a  short  space  of  time  he  died."  Whether  true  or  untrue,  these 
anecdotes  of  Vasari 's',  like  his  story  that  Verrocchio,  after  seeing  an 
angel  by  Leonardo,  abandoned  the  art  of  painting,  are  of  interest 
as  evidence  of  the  emotion  aroused  in  the  older  artists  who  flourished 
towards  the  end  of  the  fifteenth  and  in  the  first  twenty  years  of  the 
sixteenth  century,  at  the  sight  of  the  works  of  the  new  generation. 

1  The  second  is  disproved  by  the  dates. 

320 


VIRGIN  AND  CHILD  WITH  S.  JEROME  {KNOiVN  AS  IL  aORNOi 
Corttggh  , 

(CaOoy.  Panna) 


S.i8.— <■  ESAR  CAUSES  MEMOKIAtS  OF  POMPEY  TO  BE  BURNT.      (FRANC.  PRIMATICCIO.) 

Pu!a/./.o  (111  'I'c,  Mantua.     (Photo.  Alinari  ) 

CHAPTc-£«  .x^^N 
EMILIA  , 


The  Painting  of  the  Sixteenth  Century.     Correggio 

The  "  Ne}»  Manner"  of  the  Renaissance  Painters. — Influence  of  Raphael  in  Emilia. — His 
Imitators  and  Disciples. — //  Carofalo. — Dosso  Dossi. — Birth  and  EarluYears  of  Correggio.— 
Altar-piece  of  S.  Francesco. — Decoration  in  the  Convent  of  S.  Paolo. — His  IVork  at 
Parma:  S.  Giooanni  Eoangelista  and  the  Cathedral. — CharacteriiUct  of  His  Art. — His 
Disciples,  Parmigianino,  Anselmi,  Rondani,  and  Lelio  Orsl. 

\  ASARI  relates  that  Michelangelo  scoffed  at  the  work  of  Francia, 

•  '  *Kat  meeting  with  one  of  the  artist's  sons,  a  very  handsome 

he  said  to  him : — "  The  figures  your  father  has  begotten  are 

;!  '  '    than   those   he  has  '  "      '  '        '  too,  of 

tt.  la   that  when   he  ling  the 

S  "■  sent  him  by  Raphael   "so  great  was  his 

ar,  ■>{  it.   and  so  great  his  admiration   that, 

ways  and  the  foolish  ,  n  of  his 

as  «o  overwhelmed  wiU.  ^ ..lat  within 

'    died."     Whether  true  or  untrue,  these 

.  ^^  his  story  that  Verrocchio,  after  seeing  an 

!idoned  the  art  of  painting,  are  of  interest 

a  jf  iTt-     mvi  on  aroused  in  the  older  artists  who  flourished 

end  o'  ^  fifteenth  and  in  the  first  twenty  years  of  the 


sixtcc.iih  centur< 


ight  of  the  work*  of  the  new  generation. 


■r  5(  >  ond  is  disproved  by  the  (km. 

320 


EMILIA 


FIG.    S3Q. S.   BERNARD  OF 

CHIARAVALLE.      (g.  MARCHESE,  KNOWN 
AS    COTIGNOLA.) 

Museum,  Berlin. 


Moreover,  we  know  what  Lucas 
Moser  of  Weil  wrote  above  his  great 
ahar-piece : — 

"  Schrie,  Kunsl,  schrie !  und  klaget  zehr 
Dich  begehret  niemand  mehr." 

Aheady   in   Emilia,    and   above 

all,    in   Bologna,    the   fame   of   the 

miraculous  works  that  Raphael  was 

painting  in  the  Vatican  had  been 

noised  abroad.  The  wonder  became 

still  greater  when  in  I  5 1 6  and  in  1  5 1  7 

two    of    his    works    appeared    in 

Bologna  and  Piacenza  respectively 

— the  glorious  S.   Cecilia  and    the 

Madonna  di  S.  Sisto,  the  most  divine 

production,  not  only  of  Raphael,  but 

of    the    whole    art   of    Italy.      The 

younger  men  were  in  ecstasy ;   and  pupils  began  to  fall  away  from 

the  many  local  schools  that  were  flourishing  at  this  time.     Among 

the  first  of  those  who  took  their  stand  at  the  side  of  Raphael,  and 

by  means  of  their  engravings 
spread  abroad  the  knowledge 
of  his  compositions  and  of  his 
fame,  was  the  Bolognese  en- 
graver Marcantonio  Raimondi 
(1 488?- 1534?),  who  was 
followed  by  Giulio  Bonasone 
(at  work  1521-1574),  also  a 
native  of  Bologna,  by  Marco 
Dente  of  Ravenna,  who  was 
killed  during  the  sack  of  Rome 
(1527),  and  by  Enea  Vico  of 
Parma  (at  work  1541-1567). 
Numerous  were  the  painters 
of  Emilia  who  were  drawn 
within  the  new  orbit ;  they 
came  above  all  from  Romagna. 
Girolamo  Marchesi,  known  as 

Cotf gnola  (1471-1  540)  abandoned  the  manner  of  his  fellow-country- 
men, the  Zaganelli,  to  whom  he  had  shown  himself  faithful  in  his 

321  Y 


^^FJB^T' 

^^^^^^^^^K^^^^^H 

FIG.    S40- — CIRCUMCISION.      (b.    RAMENGHI, 
KNOWN   AS   BAGNACAVALLO.) 

Louvre,  Paris.     (Photo.  Alinart.) 


ART  IN  NORTHERN  ITALY 


FIG.    541. — MARRIAGE   OF 

S.    CATHERINE. 

(iNNOCENTO  FRANCUCCI  DA  IMOLA.) 

S.  Giacomo  Maggiore,  Bologna. 
(Photo.  Alinari.) 


early  paintings,  to  adopt  more  ample 
forms  in  the  pictures,  at  Bologna, 
at  Forli,  and  above  all  at  Berlin 
(Fig.  539),  which  have  brought  him 
fame.  Bartolomeo  Ramenghi  ( 1 484- 
1542,  Fig.  540),  known  as  Bagna- 
cavallo  from  the  name  of  his  native 
town,  Biagio  Pupini  dalle  Lame 
(1490-1530),  and  Innocenzo  Fran- 
cucci  da  Imola  (1494-1550,  Fig. 
541)  detached  themselves  from 
Francia  to  pass  over  to  Raphael. 
Ramenghi,  indeed,  did  not  disdain 
to  cast  a  glance  at  Dosso  Dossi, 
thereby  strengthening  his  colouring ; 
in  this  he  gave  proof  of  greater 
shrewdness  than  Francucci,  who, 
with  all  his  show  of  solemnity  and 
accuracy,  made  no  progress  towards 
an  elevated  style.  His  colour  is  un- 
pleasantly crude ;  we  find  flesh-tints  of  terra-cotta  and  reddish 
garments  with  yellow  reflections  side  by  side  with  draperies  of  a 
strident  green.  If  Raphael  made  use 
at  times  of  iridescent  tints,  the  prac- 
tice in  the  hands  of  Innocenzo  be- 
came a  mannerism,  and  he  was  the 
first  of  those  lovers  of  opaline  effects 
whose  exaggerated  tricks  of  colour 
characterise  a  certain  period  in  the 
art  of  Bologna. 

In  Ravenna  the  influence  of 
Raphael  was  less  intense,  but  lasted 
for    a     longer    period,     with     Luca 

Longhi  (1507-1580,  Fig.  542),  a 

placid  and  timid  spirit ;  in  Faenza 
with  Giacomo  Bartuzzi  (1501?- 
1  579),  with  Giulio  Tonducci(l  5 13?- 
1  583  ?)  and  with  Marco  Marchetti 
(d.  1  588),  an  artist  whose  little  nar- 
rative scenes,  crowded  with  figures, 
and  whose  lively  '*  grotesques  "  were 
appreciated  and  sought  after  both  in 

322 


FIG.    542. VIRGIN   AND    CHILD    WITH 

SAINTS.      (lUCA   longhi.) 

Brera,  Milan. 
(Photo.  I.  I.  d'Arli  Grafiche.) 


EMILIA 


FIG.  543.- 


(PROSPERO 


ENTOMBMENT. 
FONTANA.) 

Gallery,  Bologna.    (Photo.  Bolognesi.) 


Florence    and    in    Rome.      His   in- 
fluence  was   felt   too    by   Francesca 

Menzocchi   of   F'orli   (1502-1572). 

but  only  for  a  time,  for  Menzocclii 

wavered,  without  ever  fixing  his  style, 

between  that  of  Palmezzano  and  of 

Genga  on  the  one  hand,  and  that  of 

Pordenone    on    the    other,    passing 

from  a  dark,  gloomy  manner  to  one 

marked   by   a   timid   use   of   colour, 

where  certain  delicate  yellowish  tints, 

as  of  alabaster,  predominate.     And 

working  by  indirect  paths,  and  passing 

by  way  of  other  schools  and  other 

exemplars,  that  remained  faithful  to 

him,  the  influence  of  Raphael  was 

a  lasting  one.     By  way  of  Perin  del 

Vaga    it   was    passed    on    to    Livio 

Agresti  (d.  1  580)  ;   by  way  of  Fran- 

cucci  to  Prospero  Fontana  (1512-1597,  Fig.   543);    by  way  of 

Giulio   Romano   it  reached   Francesco   Primaticcio   (1504-1570, 

Fig.  538),  his  assistant  at  Mantua,  a  painter  who,  on  the  strength 

of    the   works   carried   out   at   Fontainebleau   with    Niccolo    dell' 

Abate  (1 512-1 571 ,  Fig.  544),  for  Francis  I  and  Henry  II,  acquired 

,   the    reputation    of    a    great 

decorative  artist. 

Benvenuto  Tisi,  again, 
known  as  Garof alo  ( 1 48 1  - 
1559)  after  a  visit  to  Rome, 
inclined  to  the  new  style  of 
Raphael,  adding  qualities  of 
drawing  to  the  colour  and 
the  light  that  he  had  found 
in  Dosso  Dossi  and  in  Palma 
Vecchio,  and  this  without  in 
any  way  breaking  faith  with 
the  simplicity  he  had  derived 
from  Boccaccino.  In  spite  of 
his  many  masters,  however 
no.  544.— FAMILY  OF  MisK  lANs.  (and   to   those  already  men- 

(niccolo  dei.i.'abatk.)  tioned  we  must  add  Panetti 

Estcnsc  Gallery,  Modcna.     {Photo,  .ilinari.)         and  CoSta),  Garofalo  Worked 

323  y2 


WKr               .^__ 

^ft'/fhl  'a 

%L.  tv  ^A 

ART  IN  NORTHERN  ITALY 


FIG.    545. — VIRGIN  AND  CHILD 
WITH    SAINTS.       (CAROFALO.) 

Estense  Gallery,  Modena. 
{Photo.  Alhiari.) 


out  a  style  of  his  own,  one  which,  if  the 
colour  is  not  always  good  nor  the  drawing 
irreproachable,  is  none  the  less  pleasing  for 
its  grace  and  dignity  (Fig.  545).  Gifted 
with  little  imagination,  he  was  given  to 
repetition,  and  his  work  often  appears 
empty  ;  these  faults  are  the  more  prominent 
because  of  his  productiveness.  It  is,  how- 
ever, necessary  to  separate  from  Garofalo's 
genuine  work,  a  number  of  little  pictures 
constantly  attributed  to  him,  but  really  by 
Stefano  Falzagalloni  (1480-1551),  who 
not  only  imitated,  but  actually  counterfeited 
the  master.  Antonio  Pirri,  a  pupil  per- 
haps of  Bernardino  Zaganelli,  yielded  in 
his  turn  to  the  influence  of  Garofalo,  as 
did  for  a  time  Nicola  Pisano  (at  work 
1499-1538),  who  had  previously  been  a 
pupil  of  Costa,  and  Girolamo  da  Carpi 
(1501-1526,  Fig.  546),  who  was  also  an 
architect.  But  in  time  Girolamo,  confronted  by  the  works  of  the 
Florentine  followers  of  Michelangelo,  was  led  away  by  their  examples. 

Nor  was  he  less  influenced  by  Giovanni 
Luteri,  known  as  Dosso  Dossi  (1479?- 
I  542),  the  greatest  name  in  the  school 
of  Ferrara. 

That  Dosso  had  been  a  pupil  of 
Costa  is  not  impossible ;  in  any  case  he 
soon  escaped  from  the  narrow  bonds  of 
his  teaching  to  listen  to  the  commanding 
call  of  the  great  Venetians,  more  espe- 
cially Giorgione  and  Titian.  With  him 
the  Ferrarese  school  of  painting  ac- 
quired a  new  strength  of  colour  and, 
what  is  more,  an  element  of  poetry 
which  extends  from  the  principal  figures 
to  the  landscape  and  to  the  general 
composition  (for  example,  The  Vision, 
at  Dresden).  It  is  with  full  justice  then 
that,  on  the  ground  of  his  imaginative 
gifts,  of  the  heroic  poses  of  his 
figures,  of  the  sense  of  mystery  in  his 
324 


FIG.    S46. — MIRACLE   OF 
ANTHONY.       (gIROL.     DA    CARPI.) 

Municipal  Gallery,  Ferrara. 
(Photo.  Alinari.) 


EMILIA 


backgrounds,  Dosso  has  been  called  "  the  Ariosto  of  painting." 
The  Circe  of  the  Borghese  Gallery  (Fig.  549),  in  her  Oriental 
pomp  and  in  the  seductive  languor  of  her  glance,  is  the  poet's 
Alcina  to  the  life ;  the  St.  George  of  the  Ferrara  Gallery,  and 
that  of  the  Brera  are  Ruggero  and  Rinaldo  !  Even  his  portraits 
have  an  element  of  the  heroic,  and  w^e  may  well  imagine  a  reciprocal 
breath  of  inspiration  passing  betw^een  him  and  the  great  poet,  who 
in  his  Orlando  Furioso  loved  to  sing  the  praises  both  of  his  artist 
friend  and  of  Battista  Dossi  (d.  1  548),  a  painter  who,  while  working 
with  his  brother,  did  not  turn  a  deaf  ear  to  the  appeal  of  Raphael. 
As  for  the  others,  Sebastiano 
Filippi,  known  as  Bastianino 
(I540?-I602),  although  at  first 
he  attempted  to  soar  to  the 
heights  of  Michelangelo,  was 
content  in  the  end  to  follow  in 
the  more  peaceful  path  of  the 
Urbinate,  as  we  see  in  his  Santa 
Cecilia  in  the  Ferrara  Gallery. 
In  the  same  way  his  brother 
Cesare  (d.  1 603  ?)  made  a  repu- 
tation by  the  skill  he  showed  as 
a  decorative  painter  in  his  "  gro- 
tesques, "  modelled  upon  those 
of  the  Vatican  loggie. 

Nevertheless,  a  breath  of 
warm  air  from  Venice  never 
failed  to  reach  the  artists  of 
Ferrara.      It    warmed    even    the 

refined  but  frigid  painting  of  Ippolito  Scarsella,  known  as  Scarsellino 
(1  55 1  -1 620,  Fig.  547),  whose  works,  when  of  small  dimensions,  are 
so  precious,  and  it  gave  breadth  in  the  composition  and  brilliant 
effects  in  the  lighting  to  the  pictures  of  Orazio  Grillenzoni  of  Carpi 
(1550?-I6I  7),  an  artist  who  was  at  the  same  time  a  sculptor,  and 
to  those  of  Carlo  Bononi  (1569-1632,  Fig.  548),  the  last  notable 
painter  of  the  Ferrarese  school. 

While  Dosso  was  at  work  in  his  lofty  style  in  Ferrara,  but  under 
the  influence  of  the  Venetians,  while  Garofalo  was  repeating  his 
agreeable  figures,  and  the  painters  of  Romagna,  gathered  together 
in  Bologna,  were  breathing  in  the  pure  Raphaelesque  inspirations, 
in  the  heart  of  Emilia  rose  a  man  of  truly  original  genius :  this  was 
Antonio  Allegri,  known  as  Correggio  from  the  name  of  the  city 

325 


FIG.    547. — PIETA.       (scarsellino.) 

Corsini  Gallery,  Rome.     {Photo.  Brogi.) 


ART  IN  NORTHERN  ITALY 


where,  in  1 494,  he  was  born  and 
where  he  died  in  I  534. 

All  the  stories  that  are  told  of 
Correggio's  boyhood  are  imagi- 
nary. So,  too,  we  can  only  arrive 
at  his  masters  by  inference,  for  the 
statements  that  he  had  been  a 
pupil  of  Antonio  Bartolotti  (d. 
I  527)  in  his  native  city,  of  Fran- 
cesco Bianchi-Ferrari  in  Modena, 
and  of  Francia  in  Bologna  are 
based  either  on  late  authorities 
or  upon  simple  hypotheses.  He 
doubtless  learnt  the  rudiments  of 
his  art  in  his  own  home,  from  his 
uncle  Lorenzo  Allegri,  although 
the  latter  was  but  an  indifferent 
painter.  The  exceptional  nature 
of  the  boy's  gifts  could  not  long  have  escaped  the  notice  of  his 
fellow- townsmen  and  of  the  lords  of  Correggio ;  and  the  latter 
being  in  constant  relations  with  the  Gonzaga  of  Mantua,  despatched 

the  lad  to  that  city,  where 


FIG.    548. — S.    CECILIA.      (carlo   BONONI.) 

Corsini  Gallery,  Rome.     {Photo.  Brogi.) 


he  could  admire  the  com- 
manding productions  of 
Mantegna,  and  study  the 
works  of  Lorenzo  Costa 
and  of  Dosso.  Correggio, 
although  he  may  have  de- 
rived certain  motives  and 
certain  forms  from  Man- 
tegna, belongs  essentially  to 
the  school  of  Emilia,  and 
this  is  distinctly  shown  in 
a  number  of  his  youthful 
works,  above  all  in  the  large 
altar  -  piece,  now  in  the 
Dresden  Gallery,  painted 
when  he  was  about  twenty 
for  the  church  of  S.  Fran- 
cesco in  his  native  town. 
This  period,  in  which  the  impressions  derived  from  his  teachers  are 
fairly  evident,  was  followed  by  another,  during  which  the  artist  strives 

326 


FIG.    549. — CIRCE.      (dosso   DOSSI.) 

Borghese  Gallery,  Rome.     (Photo.  Anderson.) 


EMILIA 


1^ 

^^^^■B 

^^^1 

^1 

lg 

^^ 

FIG.    5SO. CUPOLA   OF   S.    GIOVANNI 

EVANGELISTA,    PARMA.       (CORREGGIO.) 

(Photo.  Alinari.) 


to  free  himself  from  every 
bond  and  to  develop  his  native 
gifts ;  but  in  this  he  w^as  not 
completely  successful,  and  the 
works  of  this  time,  with  their 
warm  Dossoesque  tints  and 
their  awkwardness  of  expres- 
sion, give  indubitable  proof  of 
a  painful  effort  in  their  execu- 
tion. The  definite  affirmation 
of  his  personality  first  becomes 
manifest  at  the  time  of  his 
visit  to  Parma,  in  the  decora- 
tion of  a  chamber  in  the  con- 
vent of  S.  Paolo  (Fig.  551). 
From  this  time  forth,  pro- 
ducing a  notable  series  of 
works,  Correggio  proceeds 
upon    his    path    of    triumph. 

Having  finished  his  decoration  in  the  convent  of  S.  Paolo,  he  painted 
in  fresco,  in  the  church  of  S.  Giovanni  Evangelista,  the  cupola  (Fig. 
550),  the  semi-dome  of  the  apse  (taken  down  in  I  587),  and  the 
lunette  of  St.  John  in  Patmos,  besides  three  easel  pictures  in  oil- 
colour.     He  then  proceeded  to  fresco  the  cupola  of  the  cathedral, 

where  he  figured  the  Virgin 
of  the  Assumption  amidst 
a  vast  assembly  of  angels 
and  of  saints.  It  would  ap- 
pear, however,  that  this 
marvellous  work  was  at  first 
neither  admired  nor  even 
understood  ;  it  was  the  sub- 
ject of  severe  criticisms  and 
biting  gibes,  such  as  that  of 
the  canon  who  compared 
the  composition  to  "  a  hash 
of  frogs."  It  is  in  any  case 
a  fact  that  towards  the  end 
of  the  year  1 530,  before  the 
completion  of  the  whole 
work,  he  returned  to  Correggio,  where,  save  perhaps  for  some  short 
intervals,  he  remained  until  his  death,  painting  mythological  pictures 

327 


W\^ 


FIG.    551. — DECORATION    OF    A    ROOM    IN    THE 
EX-CONVENT    OF    S.    PAOLO,    PARMA.      (CORREGGIO.) 

(Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


FIG.    SS2. — DANAE.       (CORREOGIO.) 

Borghese  Gallery,  Rome.     {Photo.  Alinari.) 


for  the  Duke  of  Mantua,  among  which  we  may  mention  the  Danae 

(Fig.  552),  the  Leda,  and  the  lo. 

There  have  been  few  artists  who  have  possessed  the  inestimable 

gift  of  personality  to  such 

a  degree  as  Correggio, 
At  an  early  stage  in  his 
career  every  trace  of  the 
influence  of  the  Ferrarese 
school  or  of  Mantegna 
gives  place  to  an  entirely 
original  conception  of  de- 
sign, of  colour,  of  light  and 
shade,  and  of  life.  In 
his  composition  he  is  con- 
cerned to  justify  and 
vitalise  every  figure ;  of 
this  we  have  examples 
in  the  Marriage  of  S. 
Catherine  in  the  Louvre ; 
in  the  Madonna  with  S. 

Sebastian,  in  the  Madonna  with  S.  Peter  Martyr  and  in  the  Notte, 

all  three  at  Dresden ;    in    the   Madonna  with  S.  Jerome  and  in 

the  "Madonna  della  Scodella,"  both  at 

Parma. 

No  doubt  in  the  treatment  of  his  sub- 
jects   he    showed    less    profundity    than 

Michelangelo   and    Raphael ;    but  every 

simple  theme,   thanks  to  the  exceptional 

power  of  his  art,  he  was  able  to  raise  to 

the  level  of  lofty  poetry.     In  the  art  of 

painting  there  was  before  long  no  secret 

hidden  from  him.    With  his  brush  he  suc- 
ceeded   in    resolving    the    most    obstinate 

problems    and    in    rendering    his    perfect 

vision,  in  space,  of  every  foreshortening, 

of  every  movement,  and  this  perhaps  even 

to   excess,   even   to   extravagance.      With 

regard  to  sentiment,  his  dominant  note  is 

joy,  but  this  does  not  mean  that  he  was 

unable  to  express  grief  and  austerity.     It 

was  certainly  his  habit  to  escape  from  all 

that  was  sad  and  melancholy  and  to  devote 

328 


'<5.     553- VIRGIN     AND    CHILD 

WITH    SAINTS. 
(O.    GANDINI    DEL    GRAND.) 

Gallery,   Parma. 
{Photo.  Alinari.) 


EMILIA 


FIG.    554. VIRGIN    AND    CHILD 

WITH    SAINTS. 
(FRANCESCO    MARIA    RONDANI.) 

Gallery,  Parma.    (Photo.  Alinari.) 


himself  to  the  most  suave  and  jocund 
expression  of  Ufe.  Hence  the  inde- 
scribable grace  of  his  thousand  smiHng 
creations  and,  above  all,  of  his  putti. 
In  the  matter  of  technique,  Correggio 
is  the  representative  of  the  final  and 
highest  development  of  Italian  painting, 
as  may  be  seen  in  the  ideal  perfection 
of  his  chiaroscuro,  in  his  diffusion  of 
light  and  in  his  vivacity  of  colour. 

The  range  of  his  direct  and  imme- 
diate influence  was  small  and  he  had 
few^  disciples.  We  find  good  qualities 
of  colour  and  of  drawing  in  Giorgio 
Gandini  del  Grano  (1480?-1518, 
Fig.  553),  although  his  composition  is 
rather  crowded  and  heavy ;  the  works 
of  Francesco  Maria  Rondani  (1490- 
1549?,  Fig.  554),  although  careless  in 
execution,   are   full   of   life   and   light ; 

but  among  the  pupils  of  Correggio  the  most  pleasing  is  Michel- 
angelo   Anselmi    (1491-1554),    thanks    to    the    animation    of    his 

figures,    to    his    warm    and    luminous 
tones,  and  to  the  ease  of  his  technique 

(Fig.  555). 

Born  at  Lucca,  Anselmi  studied  in 
his  youth  at  Siena  under  Sodoma  ;  then 
in  1518  he  proceeded  to  Parma,  his 
father's  native  town,  and  placed  himself 
under  Allegri.  The  works  of  Girolamo 
Mazzola-Bedoli  ( 1  500- 1  569)  have  also 
exceptional  grace  and  charm.  His 
colour  is  soft  and  diaphanous,  but  some- 
times errs  on  the  side  of  weakness 
through  the  abuse  of  light,  iridescent 
tints  (Fig.  557).  But  there  is  one 
artist  who  takes  a  higher  position  than 
any  of  these  and  is  undeniably  second 
to  Correggio  alone ;  this  is  Francesco 
Mazzola,  known  as  Parmigianino 
(1503-1540),  the  son  of  Fihppo,  who 
produced    his    earliest    works    in    the 

329 


FIG.    555. — VIRGIN   AND   CHILD 
WITH    SAINTS.       (m.  A.    ANSELMI.) 

Gallery,  Parma. 
{Photo.  Alinari.) 


ART  IN  NORTHERN  ITALY 


FIG.    SS6. — VIRGIN   AND    CHILD 

WITH    S.    MARGARET. 

(PARMIGIANINO.) 

Gallery,  Bologna. 
(Photo.    deW Emilia.) 


work-shop  of  his  uncles,  Pier  Ilario 
Mazzola  (d.  1  545)  and  Michele  Maz- 
zola  (d.    1 520),  themselves  indifferent 

Painters.  The  arrival  of  Correggio  at 
'arma  determined  the  direction  of 
Parmigianino's  art,  but  did  not  prevent 
him  from  maintaining  a  personal  note 
all  his  own,  which  was  unaffected  even 
by  the  five  years  he  passed  in  Rome 
in  contemplation  of  the  works  of 
Michelangelo  and  of  Raphael.  Like 
so  many  other  artists,  he  left  Rome 
after  the  sack  of  1527,  and  betook 
himself  to  Bologna,  where  he  painted 
not  a  few  pictures,  among  others  the 
lovely  St.  Margaret  (Fig.  556).  After 
the  coronation  of  Charles  V.  he  re- 
turned to  his  native  city,  and  was  occu- 
pied in  painting  in  the  Steccata  church  ; 
but  his  fantastic  temperament  involved 
him  in  quarrels,  and  he  was  fain  to  take  refuge  in  the  castle  of 
Fontanellato,  on  the  walls  of  which  he  painted  in  fresco  the  story 
of  Diana  and  Actaeon.     Having  returned  to  Parma,  he  continued 

his  work  in  the  Steccata,  but  he 
brought  little  to  completion ;  em- 
bittered by  new  disputes  in  which 
he  became  entangled  he  fled  to 
Casalmaggiore,  where  he  died  at 
the  early  age  of  thirty-seven.  Par- 
migianino  has  been  justly  blamed  for 
making  his  figures  too  slim  and 
effeminate ;  no  one,  however,  can 
fail  to  recognise  the  skill  of  his 
drawing,  so  much  admired  by  Paolo 
Veronese,  the  refined  distinction  in 
the  choice  of  his  types  and  the 
gaiety  of  his  colour.  His  drapery, 
which  he  copied  from  the  antique, 
he  treated  with  remarkable  grace. 
He  painted,  too,  some  magnificent 
portraits,  life-like  and  full  of  distinc- 
tion (Fig.  558). 
330 


■  ^  W  P- 

Wifl  1*. 

if  i'_:.^C«f  1 

^±^41 

'•''     1^^ 

FIG.    SS7. — FRAGMENT   OF   A 
CONCEPTION.       (g.    MAZZOLA-BEDOLI.) 

Gallery,  Parma.     (.Photo.  Alinari.) 


EMILIA 


FIG.    558. — PORTRAIT   OF   ANTEA. 
(PARMICIANINO.) 

Museo  Nazionale,  Naples. 
{Photo.  Alinari.) 


With  his  nephew  Alessandro  (1533- 
1608)  the  artistic  fortune  of  the  Maz- 
zola  family  terminated,  just  as  that  of 
the  Allegri  came  to  an  end  with 
Pomponio  (1 52 1  -1 593),  the  degenerate 
son  of  Correggio.  However,  the  seed 
had  been  sown.  Lelio  Orsi  of  No- 
vellara  (1511-1587),  the  master  of 
Raffaele  Motta  (1  550-1  578,  Fig.  559), 
derived  from  Correggio  the  gaiety  of 
his  colour  and  the  boldness  of  his 
foreshortening,  and  from  Michelangelo 
his  anatomical  energy,  without,  however, 
penetrating  into  the  poetry  of  the  one  or 
the  profundity  of  the  other.  In  Bologna 
meantime  Michelangelo  had  found  his 
most  gifted  follower  in  Pellegrino  Pel- 
legrini, known  as  Tibaldi,  of  whom  we 
have  already  spoken  as  an  architect  in 
Milan  and  in  Bologna.  (See  pp.  165  and  293.)  In  the  latter  tov^, 
however,  as  was  the  case  also  in  Spain,  at  the  Escurial,  he  devoted 
himself  more  especially  to  painting. 
Tibaldi  was  indeed  a  great  and  many- 
sided  artist ;  although  a  pupil  of 
Michelangelo,  he  was  never  tempted 
to  excess,  and  in  his  painting  he  gave 
proof  of  unusual  vivacity  and  sincerity 
(Fig.  560).  LorenzoSabbatini(1530- 
1577,  Fig.  561),  Orazio  Samacchini 
(1533-1577,  Fig.  563),  Bartolomeo 
Passarotti  (1530-1592)  and  Cesare 
Aretusi  (1540?-1612)  sought  to 
imitate  Michelangelo,  fascinated  by 
his  eager  daring  and  by  his  grand 
style,  but  they  soon  found  it  more  to 
the  purpose  to  hold  fast  to  the  gaiety 
of  Correggio  and  to  the  grace  of 
Parmigianino,  and  in  this  Passarotti 
was  above  all  successful,  even  when, 
as  in  his  altar-piece  in  S.  Giacomo,  he 
carried  admiration  to  the  point  of 
imitation  (Fig.  562). 

331 


FIG.    550. TOBIAS    AND    THE    ANGEL. 

(raffaele  da  REGGIO.) 

Borghese  Gallery,  Rome. 

(Plwlo.  GargioUi.) 


ART  IN  NORTHERN  ITALY 


FIG.    560. — ADORATION    OF   THE 
SHEPHERDS.       (P.    TIBALDI.) 

Borghese  Gallery,  Rome. 
(Pholo.  Gargiolli.) 


FIG.    561. — ASSUMPTION    OF    THE 
VIRGIN.       (L.    SABBATINI.) 

Gallery,  Bologna. 
(.Pholo.  deU'Emilia.) 


It  was  to  the  studios  of  Fontana  and  of  the  Fleming,  Denis  Calvaert 
(1553-1619,  Fig.  564),  that  the  greater  number  of  those  who  were 

destined  later  to  form  the  new  Bologn- 
ese  school,  the  so-called  "  school  of 
the  Carracci,"  at  first  betook  them- 
selves. But  these  young  spirits  were 
soon  too  deeply  stirred  to  rest  content 
with  the  teaching  they  found  there. 
They  had  before  their  eyes  the  works 
of  Girolamo  da  Treviso,  of  Niccolo 
dell'Abate,  of  Tibaldi,  of  the  Palermo 
painter,  Tommaso  Laureti,  as  well  as 
the  sculpture  of  Gian  Bologna,  and 
these  appealed  to  t-hem  more  than 
the  elegant  but  mannered  productions 
of  the  eclectics ;  above  all,  from 
Parma  came  the  call  of  Correggio, 
the  fresh  bloom  of  whose  art  was 
not  yet  dissipated  among  a  throng 
of  imitators,  as  was  the  case 
with  that  of  Michelangelo  and  of 
Raphael. 

332 


FIG.     562. — VIRGIN    AND    CHILD    WITH 
SAINTS.       (b.    PASSAROTTI.) 

S.  Giacomo,  Bologna. 
(Photo.  Alinari.) 


EMILIA 


FIG.    563. — CORONATION    OF  THE 
VIRGIN.       (O.    SAMACCHINI.) 

Gallery,  Bologna. 

(Pholo.  deir Emilia.) 


BIBUOGRAPHY  TO  CHAPTER  XXIV 

For  works  of  a  general    character    upon   the  art  of 

Emilia,    guides    to    cities,    &c.,    see   the  bibliographies 

at  the  end   of   the   preceding   chapters. — C.    Ricci,    Di 

alcuni    quadri    di    scuola    parmigiana   nel  Museo    di 

Napoli  in  Napoli  Nobilissima,   iii    and   iv,   1 894-95 ; 

C.    Ricci,   in   Die   Galerien  Europas,   Leipac,    1909; 

L.  Testi,  Nuooi  quadri  nella  R.   Galleria   di  Parma 

in    Bollettino    d'Arte,    1908:    H.    Delaborde,    Marc 

Anloirte    Raimondi,    Paris,    1888;    G.    Cumberland, 

Some  Anecdotes  of  the  Life  of  Bonasoni,    London, 

1 793 ;    G.    A.    Armano,    Catalogo  di  una  serie  delta 

stampe    di   Bonasone,     Rome,     1 820 ;    P.    Kristeller, 

Marco  Dente  und  der  Monogrammist  S.  K.  in  Jahrb. 

der  KOnigl.  Preuss.  Kunstsamml.,  xi,  242  ;    E.  Con- 

tarini,    Nascimbene     Beltrami    pittore     bagnacaoallese 

del    400,     Faenza,     1 908 ;     E.     Contarini,     Scipione 

Ramenghi    seniore     detto     il    Bagnacavallo,     Bagna- 

cavallo,  1908;    D.  Vacolini,   Biografia  di  Barfolomeo 

Ramenghi    da    Bagnacavallo     e     di    altri    pittori    di 

quella  famiglia,  Imola,    1841;   P.  Giordani,  Innocenzo 

da  Imola,    Milan,     1819;     Alessandro    Cappi,    Luca 

Longhi,  Ravenna,   1853  ;   A.   Bolognini-Amorini,  Vita 

del    celebre  pittore    Primaticcio,    Bologna,    1 838 ;    H. 

Barbiei   de  Jony,   Etude  sur  les  fontes  du    Primatice, 

Paris,   1860;   L.  CHmier,  Le  Primatice.   Paris,  1900; 

F.    Reiset,  Niccolo  dell'Abate  et   les  peintrss  de  Fon- 

iainehleau  in    Gazette  des  Beaux-Arts,  i,   193  ;   L.N. 

Cittadella,     Benoenuto     Tisi    da     Garofalo,     Ferrara, 

1872;  G.  Agnelli,  Notizie  sul  palazzo  del  Seminario 

in  Ferrara  e  una  volta  dipinta  dal   Garofalo  in   Arte 

italiana  decoratioa,  Bergamo,    1907;  G.  Campori,    //   Pordenone  in   Ferrara,    Modena,   1866; 

G.  Baruffaldi,  Vita  di  Girolamo  da  Carpi,  Ferrara, 
1841  ;  A.  Venturi,  Documenti  sui  due  Dossi  in 
Archioio  Storico  dell' Arte,  iv  and  v,  1892  and  1893  ; 
E.  Cabassi,  Orazio  Crillenzoni,  Carpi,  1876;  C. 
Baruffaldi,  Vita  di  Carlo  Bononi  ferrarese,  Ferrara, 
1 843  ;  upon  Correggio  there  exists  a  whole  literature  ; 
in  addition  to  the  works  mentioned  in  Correggio  nei 
libri,  a  veiluable  bibliographical  catalogue  published 
at  Parma  in  1 894,  we  may  mention : — C.  Ricci, 
Antonio  Allegri  da  Correggio,  London,  Berlin, 
1896;  J.  Mayer,  Correggio,  Leipsic,  1871  ;  G. 
Gronau,  Correggio,  Stuttgart,  1907;  A.  BarQli. 
L'allegoria  della  vita  umana  nel  dipinto  correggesco 
di  S.  Paolo  in  Parma,  Parma,  1906;  L.  Testi, 
Una  grande  pala  di  Girolamo  Mazzola  alias 
Bedoli  detto  anche  Mazzolino  in  Bollettino  d'Arte, 
1908;  E.  Faelli,  Bibliografia  Mazzoliana,  Parma, 
1884;  I.  Aff6,  Vita  di  Francesco  Mazzola  detto  il 
Parmigianino,  Parma,  1 784 ;  A.  E.  Mortara,  Della 
vita  e  dei  lavori  di  Francesco  Mazzola,  Casalmag- 
giore,  1 846 ;  L.  Sanvitale,  Memorie  intorno  alia 
rocca  di  Fontanellato  e  alle  pitture  che  vi  fece 
Francesco  Mazzola,  Parma,  1857  ;  E.  Galichon,  Les 
dessins  du  Parmesan  in  Gazette  des  Beaux-Arts, 
2,  V,  344 ;  A.  Ronchini,  Giacomo  Bertoia  in  Atti  e 
Memorie  delle  Provincie  Parmensi,  vol.  i ;  H. 
TTiode,  Lelio  Orsi  e  gli  affreschi  del  "  Casino  di 
Sopra"  presso  Novellara  in  Archioio  Storico  dell' 
Arte,m,  1890,366;  C.  Malagoli,  Memorie  storiche 
su  Lelio  Orsi,  Guastaila,  1892  ;  G.  B.  Toschi,  Lelio 
Orsi  da  Nooellara  in  L'Arte,  iii.  1900;  E.  Calani, 
Francesco    Menzocchi.     Forli,    1894;     G.    Adomi, 

Breve    trattato    della    vita    di   Raffaele   Motta    reggiano,   Parma,  1850;   Omero  Masnovo,   La 

vita  e  le  opere  di  P.  A.  Bernabei  pittore  parmigiano,  Parma,  1909. 


FIG.   564. — VIGILANCE,     (d.  CALVAERT.) 

Gallery,  Bologna.    {Photo.  Anderson.) 


333 


FIG.    565. — AURORA.      (GUIDO   RENI.) 

Rospigliosi  Palace,  Rome.    {Photo.  Anderson.) 


CHAPTER  XXV 

EMILIA 

Painting  from  the  Seventeenth  to  the  Nineteenth 
Century.    The  School  of  the  Carracci 

The  Programme  of  the  Carracci. — Exaggerated  Nature  of  their  Art. — Redeeming  Individuality 
of  Painters  of  their  School. — Eclecticism. — Lodovico  Carracci. — Agostino  Carracci. — 
Annibale  Carracci. — Francesco  Albani. — Guido  Reni. — Domenichino. — Minor  Painters  of 
the  Bolognese  School. — Guercino. — Later  Disciples  of  the  Carracci. — Modem  Painters. — 
Conclusion. 

The  principal  merit,  to  my  mind,  of  the  pictorial  school  of  the 
Carracci  is  in  the  fact  that  they  thrust  on  one  side  the  degenerate 
and  emasculated  formulae  of  the  followers  of  Raphael  and  of 
Michelangelo,  that  they  freed  themselves  from  these  bonds,  and  took 
up  their  position  once  more  at  the  starting-point,  chronologically,  of 
the  followers  of  Michelangelo  themselves ;  more  especially  they 
turned  back  to  Correggio  and  to  Titian.  We  must  remember  that 
Annibale  proclaimed  these  to  be  his  two  real  masters,  and  he 
recorded  in  writing  that,  compared  with  the  S.  Jerome  of  Correggio, 
the  S.  Paul  of  Raphael,  which  at  first  he  had  regarded  as  a  miracle, 
now  seemed  to  him  "  a  wooden  production,  so  hard  and  trenchant 
is  it." 

But  did  this  famous  school  of  painters,  as  a  consequence,  fail  to  give 
expression  to  the  temperament  of  its  own  age  ?  This  would  have 
been  impossible,  nor  was  the  attempt  made.  Those  critics,  then, 
who  blame  it  for  not  going  back  in  its  reform  to  the  fifteenth  century, 
and  who  abuse  it  as  dull  and  heavy,  show  that  they  are 
incompetent  to  judge  it  in  its  historical  relations. 

334 


EMILIA 


This  school  then,  ahhough  in  the  main 
Baroque  in  character,  succeeded  in  placing 
a  restraint  upon  all  excesses.  The  tradi- 
tion of  the  great  masters,  the  study  of 
the  antique,  the  imitation  of  reality,  con- 
stituted a  fighting  programme  for  the 
Carracci ;  but  these  principles  could  only 
be  applied  in  harmony  with  contemporary 
sentiment.  In  other  words,  they  might 
succeed  in  correcting  and  tempering  the 
excesses  of  their  contemporaries  in  certain 
directions,  but  not  in  changing  their  com- 
plex character.  As  a  matter  of  fact,  the 
masters  whom  the  Carracci  imitated  were 
the  very  ones  from  which  the  Baroque 
style  had  been  derived ;  their  study  of  the 
antique  was  based  upon  Roman  examples 
of  careless  modelling  or  upon  statues 
where  the  muscular  development  alone 
had  received  attention  ;  finally,  their  study  of  nature  was  almost 
entirely   confined   to  .the  nude   and   to   human   anatomy.     Their 

pictures  show  it.  "A  limb  is  not 
painted,"  so  wrote  Tassoni,  *'  until 
the  veins  and  the  muscles,  together 
with  the  flexure  and  the  movements 
of  the  latter,  have  been  measured, 
correlated,  and  then  copied  from  the 
life  with  toil  and  industry,  and  com- 
pared with  those  of  skinned  and 
dissected  corpses,  so  that  all  their 
workings  may  be  understood." 

But  the  simplicity  of  the  real,  and 
the  suave  and  diffused  light  that  the 
great  men  of  the  Renaissance  beheld, 
no  longer  delighted  their  eyes.  Their 
composition,  their  poses,  their  light 
and  shade,  were  exaggerated,  as  were 


FIG.    566. COMMUNION   OF 

S.  JEROME.      (AGOST.  CARRACCI.) 

Gallery,  Bologna. 
{Photo.  Alinari.) 


FIG.  567.— VIRGIN  AND  CHILD  WITH     indced  all  the  activities  of  man  at  this 

SAINTS.      (ANNIB.    CARRACCI.) 


Gallery,  Bologna.    (Photo.  Alinari.) 


time. 


One  thing,  however,  the  Bolognese 
appear  to  have  inherited  from  the  Venetians :  individual  variety,  or 
independence  in  pictorial  expression.     And  it  was  in  fact  this 

335 


ART  IN  NORTHERN  ITALY 


FIG.    568. — THE    SCALZI    MADONNA. 
(lod.   CARRACCI.) 
Gallery,  Bologna. 
(Photo.  Bolognesi.) 


that  for  long  preserved  their  work 
from  degeneracy.  If  all  of  them,  as 
had  before  happened  in  the  case  of 
the  followers  of  Michelangelo,  had 
blindly  followed  Lodovico  Carracci, 
their  art  would  have  had  but  a  short 
life,  and  would  have  been  of  little 
efficacy.  But  as  it  happened,  the 
better  men  among  them  always  added 
a  personal  note  of  some  kind,  and 
thus  warded  off  the  damaging  effects 
of  a  servile  and  direct  imitation. 

The  eclecticism  upon  which  the 
painters  of  the  school  of  the  Carracci 
prided  themselves,  must  be  considered 
as  the  impression  we  receive  from 
them,  and  must  not  be  held  to  be 
the  cause  of  their  special  characters. 
Agostino,  indeed,  lays  down  the  law 
that  a  good  painter  should  be  master  of  the  drawing  of  Rome,  the 
movement  and  the  shadows  of  the  Venetians,  the  colour  of  the 
Lombards,  the  grandeur  (terribilita)  of  Michelangelo,  the  natural- 
ness of  Titian,  the  pure  style  of  Correggio,  the  symmetry  of 
Raphael,  the  restraint  and 
the  sound  principles  of 
Tibaldi,  the  invention  of 
Primaticcio,  the  grace  of 
Parmigianino,  the  com- 
plexity of  Niccolo  deir 
Abate,  to  say  nothing 
more ;  but  it  is  clear  that 
all  this  is  mere  rhetoric 
and  indeed  radically  false  ; 
an  artist  paints  in  accord- 
ance with  the  art  over 
which  he  has  obtained 
mastery,  and  is  not  de- 
pendent upon  criteria  of 
this  nature. 

Lodovico  Carracci  (1555-1619)  studied  first  at  Bologna  with 
Prospero  Fontana,  and  then  in  Venice  under  Tintoretto,  who  did 
not  discern  his  gifts,  and  advised  him  to  abandon  art.     However, 

336 


FIG.    56Q. — DANCE   OF  CUPIDS.      (fRANC.    ALBANI.) 

Brera,  Milan.     (Pholo.  Alinari.) 


EMILIA 


fig.   s70. — commtjnion  of  s.  jerome. 

(domenichino.) 

Vatican  Gallery,  Rome. 

{PJtoto.  Anderson.) 


his   Iron    will    and   his    assimilative 

spirit  enabled  him  to  persevere.     He 

studied  in  turn  the  w^orks  of  Titian, 

of   Primaticcio,    and,    above   all,   of 

Correggio.    Having  acquired  strength 

by    the    study    of    these    and    other 

examples,  he  very  shortly  produced 

works  that  procured  for  him  the  title 

of    the    reformer    of    painting.     His 

Madonna   degli  Scalzi  (Fig.    568) 

and  that  from  the  Convertite,  now 

in    the    Bologna    Gallery,    are    two 

works   of    rare   beauty,    notable   for 

the  skill  of  the  composition  and  for 

the  ideal   atmosphere   that  enwraps 

them.     The  St.  Dominic,  appealing 

to  the  spectator  of  the  picture,  and 

stretching    out    his    hand    with    an 

ample  gesture  to  draw  attention  to 

the  Divine  Child,  is  a  figure  which, 

although,  as  a  motive,  derived  from 

Correggio,    has    taken    on    a    fresh 

aspect,  one  which  we  shall  find  again  in  many  other  paintings 
of  the  school.  It  was,  indeed,  Lodovico 
who,  together  with  other  gifted  artists 
of  his  family,  founded  an  academy 
that  was  soon  thronged  with  disciples, 
many  of  whom  became  famous. 

Agostino  also  (1557-1602,  Fig.  566) 

studied  under  Fontana,  as  well  as 
under  Tiburzio  Passarotti,  but  the  real 
inspirer  of  his  art  was  his  cousin 
Lodovico.  Endowed  with  an  enthu- 
siastic spirit,  he  devoted  himself  to  the 
observation  of  works  in  many  styles, 
but  he  also  formed  himself  more 
especially  upon  the  study  of  Correggio 
and  of  Titian.  He  gave  much  time 
to  engraving,  and  at  one  moment  he 
seemed    determined    to    devote    himself 

FIO.    57 1. — S.    FRANCIS.  1        •         1  1  1    •  •        • 

(s.  BADALoccHio.)  cxclusively  to  that  art ;    this,  it  is  re- 

Gaiiery,  Parma.    iPkoto.  Aiinari.)    ported   by   some,    was    to    escape    the 

337 


ART  IN  NORTHERN  ITALY 


FIG.    572. — ASSUMPTION   OF  THE   VIRGIN. 
(GIOV.    LANFRANCO.) 

Pitti  Gallery,  Florence.     {Photo.  Alinari.) 


Jealousy  as  a  painter  of  his  brother  Annibale,  a  fiery,  irritable,  and 
queirrelsome   individual.      Others,    however,    do   not   conceal    the 

fact  that  Agostino,  al- 
though timid  in  his  art, 
vexed  his  brother  by  his 
captious  spirit,  and  at  times 
grew  warm  over  the  ques- 
tions at  issue.  While  they 
were  working  together  at 
Rome  in  the  Palazzo 
Farnese,  such  violent  dis- 
putes arose  that  Agostino 
had  to  make  his  way  home 
disheartened.  Thereupon 
Cardinal  Odoardo  Farnese 
recommended  him  to  his 
brother,  the  Duke  of 
Parma,  who  found  em- 
ployment for  him  in  the  decoration  of  the  Palazzo  del  Giardino. 
But  there,  too,  the  painter  "  suffered  annoyance  sufficient  to  burst 
a  heart  in  a  breast  of  bronze  !  "  Annibale  (I  560-1 609,  Fig.  567),  in 
his  turn,  pursued  his  studies  in  Venice 
and  at  Parma.  On  his  return  to 
Bologna  he  applied  himself  to  the 
development  of  the  school  with  all 
the  energy  of  his  nature,  which,  as 
we  have  seen,  was  "  only  too  lively 
and  violent."  He  worked  much  in 
the  principal  cities  of  Emilia,  and  then 
passed  on  to  Rome,  where  he  exe- 
cuted an  infinity  of  works,  of  which 
the  most  important  were  the  famous 
decorations  in  the  so-called  Galleria 
Farnese.  In  the  end  he  was  struck 
down  by  a  mortal  sorrow,  and  it  was 
in  vain  that  Francesco  Albani  (1578- 
1660),  who  sought  to  aid  him  in  his 
work  as  a  son  and  to  afford  him  moral 
support,  attempted  to  console  him. 

The   amiable   and   happy   tempera- 
ment of  Albani   is  conspicuous  in  his   works,   which   are   indeed 
somewhat  poor  in  expression ;    but  his  love  of  cheerful  subjects  is 

338 


FIG.    573. — ENTOMBMENT. 
(ALESS.    TIARINI.) 

Gallery,  Bologna.    {Photo.  Alinari.) 


EMILIA 


accentuated  by  the  frequent  presence  in  them  of  groups  of  children 
that  recall  Correggio  (Fig.  569).  In  fact,  his  preference  for 
mythological  and  rustic  subjects  gained  him  the  name  of  the 
Anacreon  of  painting.  His  life  was  a  happy  one ;  favoured  by 
fortune,  he  was  supported  by  the  praises  and  by  the  commissions 
of  the  great.  The  one  source  of  embitterment  arose  from  the 
jealousy  that  existed  between  him  and  Guido. 

Guido  Reni  (1  575-1642)  was  much  envied  by  his  contemporaries 
for  his  gift  of  infusing  his  pictures  with  light,  a  light  that  in  some 
cases  became  languid,  but  which  at  times  gave  a  poetical  power  to 
his  works.  He  learnt  the  ele- 
ments of  his  art  from  Calvaert, 
and  thence  passed  on  to  work 
under  the  direction  of  Lodovico 
Carracci.  Not  only  in  his  native 
city  but  in  Rome  also  he  pro- 
duced works  that  brought  him 
much  fame ;  but  the  number  of 
commissions  he  received  led  him 
to  repeat  himself.  Nevertheless, 
Guido  preserved  to  the  end  a 
lofty  conception  of  his  art ;  and 
often,  rather  than  produce  per- 
functory work,  he  preferred  to 
return  the  earnest  money  he  had 
received.  In  the  study  of  the 
antique  he  sought  rather  for 
beauty  than  for  strength.  The 
Niobe  suggested  the  type  of  his 
youthful  female  figures ;  the 
Apollo  that  of  the  males.  In  such  allegorical  subjects  as  the  A  mora 
(Fig.  565),  and  the  Atalanta  and  Hippomenes  contending  in  the 
Race,  he  produced  works  of  great  beauty.  His  accurately  modelled 
figures  did  not,  however,  suffice  for  the  expression  of  vigorous  and 
dramatic  action.  Even  his  Samson  is  rather  an  Apollo,  and  in  his 
Massacre  of  the  Innocents,  which  contains  some  admirably  painted 
passages,  the  screaming  mothers  are  merely  models  posed  with  open 
mouths.  When  he  went  to  nature  he  preferred  what  was  quiet  and 
comp>osed ;  but  with  what  searching  truth  he  could  render  her 
we  see  in  his  portraits,  and  nowhere  better  than  in  the  charming 
rendering  of  his  mother  at  Bologna,  and  in  that  of  the  Benedictine 
monk  in  the  Uffizi. 

339  z2 


FIG.    574. FRAGMENT   OF   THE    VISION 

OF    S.    FRANCIS.       (l.    SPADA.) 

Gallery,  Modena.     {Photo.  Anderson.) 


ART  IN  NORTHERN  ITALY 


FIG.    575. — CRUCIFIXION. 
(BART.    CESI.) 

Certosa,  Bologna. 
(Photo,  deir Emilia.) 


Other  pictorial 
gifts,  to  him  is 
due  the  greater 
glory  of  delineating  the  soul  and  giving 
colour  to  life.  "  Domenichino  worked 
for  long  in  Rome  and  in  Naples  as 
well  as  in  Bologna,  and  his  numerous 
productions  give  proof  of  gifts,  if  not 
of  great  invention,  of  good  draughts- 
manship, and  of  a  notable  fusion  of 
the  diverse  elements  brought  together 
in  them ;  a  distinct  note  of  personality 
is  preserved  in  the  types  presented, 
and  we  are  conscious  of  a  sentiment 
full  of  sincerity  and  fervour,  nay  more, 
of  a  candour  that  has  given  justification 
to  the  statement  that  we  have  in  this 
artist  "  a  quattrocentist  who  had  strayed 
into  the  seventeenth  century." 

We  shall  speak  later  of  Guercino 
and  of  the  group  of  artists  from  Cento. 
Here  it  will  suffice  to  note  that  there 
is  a  group  of  Bolognese  artists  who, 

340 


Guido,  indeed,  was  perhaps  the  only  artist 
who  succeeded  in  compelling  admiration 
from  one  who  was  habitually  very  sparing 
of  praise,  from  Domenico  Zampieri,  known 
as  Domenichino  (1582-1641,  Fig.  570), 
who,  like  him,  had  been  trained  in  the 
school  of  Calvaert  and  then  in  that  of  the 
Carracci.  Domenichino 's  sensitive  tempera- 
ment was  the  cause  of  his  suffering  beyond 
measure  from  the  attacks  of  the  critics  "who 
rage  with  greater  fury  behind  those  who  fly 
before  them."  But  as  time  went  on  the  note 
of  praise  prevailed  more  and  more,  and 
before  his  death  he  was  regarded  as  one  of 
the  greatest  ornaments  of  the  Bolognese 
school.  What  Bellori  says  of  him  seems 
to  us  just :  "  While  other  painters  are 
praised  for  their  facility  of  execution,  for 
their  grace,  for  their  colour,  and  for  their 


FIG.   576. — VTRGIN  AND  CHILD  WITH 

SS.    ELIGIUS    AND    PETRONIUS. 

(GIAC.    CAVEDONI.) 

Gallery,  Bologna. 
{Photo.  deW Emilia.) 


EMILIA 


compared  with  him,  with  the  Carracci,  with  Guido,  with  Domeni- 
chino  and  with  Albani,  take  a  secondary  position,  ahhough  not  a 
few  of  their  works  attain  to  the  level  of  these  more  famous 
masters:  for  example,  Antonio  Carracci  (1503-1618),  a  vigorous 
but  incorrect  painter;  Francesco  Carracci  (1595-1622);  Lucio 
Massari  (1569-1633),  the  last  a  pupil  of  Passarotti  and  later  of 
Lodovico,  a  man  notable  for  the  vivacity  of  his  composition  and  of 
his  colour;  Alessandro  Tiarini  (1577-1668,  Fig.  573),  one  of 
the  most  vigorous  spirits  of  the  school.  It  was  from  Bartolomeo 
Cesi  (1556-1629,  Fig.  575)  that  Tiarini  derived  his  composed 
and  refined  types  and  his  warm 
and  quiet  colour ;  if  he  did  not 
reach  perfection  it  was  because  he 
worked  too  much  and  too  hastily ; 
Lionello  Spada  ( 1 5  76- 1 622),  pre- 
served amidst  delightful  details 
(Fig.  574),  a  monumental  sim- 
plicity of  composition  and  great 
boldness  in  the  contrast  of  bright 
flashes  of  light  with  passages  of 
deep  shade,  after  the  manner  of 
his  fantastic  friend  Michelangelo 
da  Caravaggio,  an  example  which, 
as  we  may  recognise  in  certain 
passages  of  their  works,  was  not 
without  influence  upon  Domeni- 
chino,  upon  Guercino,  and  even 
upon  the  placid  Guido. 

Meantime,  many  eager  spirits 
from  other  cities  of  Emilia,  attracted  by  the  growing  fame  of  the 
Academy,  attached  themselves  to  it.  From  Modena  came  Giacomo 
Cavedoni  (1577-1660),  a  native  of  Sassuolo,  who  painted  with 
Venetian  breadth,  but  who,  driven  to  the  verge  of  madness  by  the 
death  of  his  son,  so  completely  lost  all  his  power  that  he  could 
neither  find  work  to  do  nor  bread  to  assuage  his  hunger ;  from 
Parma  came  Giovanni  Lanfranco(l  582-1647,  Fig.  572),  the  painter 
of  many  large  frescoes  in  Rome  and  in  Naples,  executed  with  tech- 
nical vigour  and  with  a  distinct  aim  at  novelty  of  composition  ;  Sisto 
Rosa,  known  as  Badalocchio  (1585-1647,  Fig.  571),  an  artist  of 
small  inventive  powers  but  a  good  draughtsman  and  rapid  exec- 
utant; and  Fortunate  Gatti  (1596-1651),  more  distinguished  by 
the  grandeur  of  his  composition  than  by  the  accuracy  of  his  drawing. 

341 


FIG.    577. — VIRGIN   AND   CHILD. 
(BART.    SCHEDONI.) 

Gallery,  Parma.     {Photo.  Anderson.) 


ART  IN  NORTHERN  ITALY 


FIG.   578. VIRGIN   AND  CHILD  WITH 

SAINTS.      (AMIDANO.) 

Gallery,  Parma.    {Photo.  Anderson.) 


There  are  two  groups  of  artists  who, 
ahhough  they  take  their  place  within 
the  orbit  of  the  Bolognese  school,  are 
distinguished  by  qualities  peculiar  to 
themselves ;  I  refer  in  the  first  place  to 
that  founded  by  Bartolomeo  Schedoni 

(1570-1615,   Fig.    577)   and   Giulio 

Cesare  Amidano  (1570?- 1630,  Fig. 
578) ;  these  men  have  in  common 
shadows  sharply  contrasted  with  pas- 
sages of  ruddy  light,  drapery  with 
ample  and  deep  folds,  and  broad  faces 
lighted  up  by  eyes  that  are  over-round 
and  dark.  The  group  of  artists  from 
Cento,  ennobled  by  the  great  name  of 
Guercino,  is  the  second. 

The  founder  of  this  latter  group  was 
Benedetto  Gennari  the  elder  (1575- 
1610),  and  to  his  school  came  as  a  boy 

Giovanni  Francesco  Barbieri  (1591-1660),  known,  from  a  defect 

in  one  of  his  eyes,   as  Guercino,  or 

"  the  little  squinter."     Having  passed 

on  to  the  school  of  Lodovico  Carracci, 

he  at  once  attracted  attention  and  be- 
came celebrated.     As  in  addition  to 

his  work  as  an  artist  he  possessed  solid 

virtues  as  a  man,  and  great  charm  of 

manner,  Guercino  was  sought  after  by 

popes  and  kings.    The  eccentric  Queen 

Christina  of  Sweden  was  eager  to  visit 

him  in  his  studio. 

Guercino  loved  his  liberty  above  all 

things,  and  he  refused  every  invitation, 

however    honourable    and    profitable, 

that  would,  for  however  short  a  time, 

have  tended  to  convert  the  artist  into 

a  courtier.     Of  the  extent  of  his  work 

we   have   evidence   in    the   books   in 

which    his    brother    Paolo    Antonio 

(1603-1649)  registered  his  painting; 

of  their  quality  we  may  form  an  esti- 
mate  in   any   gallery   of   importance, 

342 


FIG.    579. S.    BRUNO.       (guercino.) 

Gallery,  Bologna. 
{Photo.  Anderson.) 


EMILIA 


FIG.    580. VENUS,    MARS,    AND    CUPID.       (GUERCINO.) 

Gallery,  Bologna.     {Photo.  Anderson.) 


where  we  may  assure  ourselves  that  his  fame,  in  spite  of  recent 
attacks  upon  it,  will  before  long  be  re-established.  However  this 
may  be,  three  successive 
styles  are  recognised  in  his 
work  by  historians  of  art. 
The  first  is  distinguished  by 
bright  lights  in  violent  oppo- 
sition with  the  shadows ; 
the  drawing  is  not  always 
correct,  especially  in  the 
extremities,  and  the  flesh  is 
wanting  in  substance  and 
bloodless.  In  his  second 
manner,  the  influence  of 
Michelangelo  da  Caravag- 
gio  does  not  entirely  disap- 
pear ;  we  still  find  a  marked 
contrast  between  the  lights 
and  the  shadows,  but  these 
are  better  handled,  more  pleasantly  commingled ;  the  flesh  tones 
are  rosier  and  more  refined  in  treatment,  the  drawing  is  more  exact 
and  the  composition  more  harmonious.  This  second  manner  of 
Guercino  was  his  best ;  in  it  he  produced  works  that  are  admirable 
in  their  dramatic  intensity  and  their  plastic  relief  (Figs.  579  and 
580).     To  his  third  manner  he  was  led  by  an  insane  desire  to 

imitate  what  was  in  violent  op- 
position to  his  temperament — the 
sweet  colour  of  Guido ;  he  aban- 
doned his  rigorous  and  strong 
chiaroscuro  without  attaining  tq 
Reni's  refinement  and  suavity. 

The  number  of  Guercino's 
pupils  is  remarkable.  Among 
them  we  find  Giuseppe  Galeppini, 
who  was  at  work  at  Forli  between 
1630  and  1650,  and  Giuseppe 
Maria  Fegatelli  (at  work  1660- 
1675);  but  he  gave  the  prefer- 
ence in  his  studio  to  his  own  fel- 
low-citizens, and  more  especially 
the  members  of  the  Gennari  family 
— Ercole  (1 597-1 658),  Benedetto 


J.    581. JOSEPH    AND    POTIPHAR's     WIFE. 

(carlo  CIGNANI.) 

Gallery,  Dresden.     {Photo.  Alinari.) 


343 


ART  IN  NORTHERN  ITALY 


FIG.    582. — REPOSE   IN   EGYPT. 
(SIMONE   DA    PESARO.) 

Brera,  Milan. 
{Photo.  I.  I,  d'Arti  Grafiche.) 


the  younger  (1633-1715),  and  Cesare 
( 1 64 1  - 1 688).  They  followed  so  humbly 
in  the  steps  of  the  master  that  their 
mediocre  productions  are  frequently  as- 
signed to  him  by  tolerant  critics. 

The  second   generation,   so   to   speak, 
of   the  Carracci   school  certainly   shows 
a  falling  off,  but  it  may  still  boast  of  a 
few  good  names.    Carlo  Cignani  ( 1628- 
1719)    was   an   elegant,    vivacious,    and 
healthy  painter  (Fig.  581).     But  a  more 
numerous    group    was    captured    by    the 
charms    of    Guido's    art — it    was,    as  it 
were,  a  reaction  from  the  excesses  of  the 
tenebrosi.      We    may    mention     Simone 
Cantarini  from  Pesaro  (1612-1648,  Fig. 
582),  an  artist  of  lively  fancy  and  colour, 
quick  in  conception  and  execution ;  Do- 
menico  Maria  Canuti  (1620-1684),  and 
Flaminio    Torri    (1621-1661).      Those 
critics  who  have  reckoned  Pier  Francesco  Cittadini  (1626-1693)  of 
Milan  and  Gian  Maria  Viani  (1636-1  700)  among  the  disciples  of 
Guido  have  not  taken  account  of  the  dates.    Cittadini,  in  fact,  was  in- 
debted for  little  in  his  art  to  the  Bo- 
lognese,  and  his  portraits  reveal  his 
admiration  for  Velazquez  (Fig.  583). 
In  Emilia  as  time  went  on  a  ten- 
dency   to    feebleness    showed    itself 
once   more  in   the   art  of   painting. 
But  a  successful  opposition  to  this 
was  offered  by  such  able  artists  as 
Donati     Creti     (1671-1700)     and 
Giampietro  Zanotti  Cavazzoni,  the 
son  of  Giovanni  Andrea,  the  well- 
known  comic  writer,  who  was  born 
in  Paris  in   1674.     He  was  a  poet 
and  the  historian  of  the  Accademia 
Clementina,  but  at  the  same  time  a 
respectable  painter  (d.  1  765).    The 
best  known  of  his  pupils  was  Ercole 
Lelli,    who,  as  we  have  seen,  also 
engraved  anatomical  figures.     The 

344 


FIG.     583. — PORTRAIT    OF    A    LADY    AND 
HER   SON.      (p.    F.    CITTADINI.) 

Gallery,  Bologna. 


EMILIA 


FIG.    584. — S.    JOHN    NEPOMUK 

CONFESSING    THE    QUEEN    OF   BOHEMIA. 

(CRESPI   "LO     SPAGNOLO.") 

Gallery,  Turin.     {Photo.  Anderson.) 


most  prominent  of  the  pupils  of 
Creti  was  Ercole  Graziani  the 
younger  (1688-1765),  pleasing  in 
his  types  and  in  his  colour. 

Both  Canuti  and  Cignani  had 
many  followers.  Among  the  pupils 
of  the  first  were  his  son  Felice 
(1660-1724),  Luigi  Quaini  from 
Ravenna  (1643-1717),  and  Giro- 
lamo  Bonesi  (1653-1725).  Better 
artists  than  these  were  Giuseppe 
Crespi,  known  as  "  the  Spaniard  " 
(1665-1747),  a  painter  who  both 
studied  and  worked  at  Venice, 
where  his  modern  elegance  (Fig. 
584)  and  his  silvery  tones  excited 
the  admiration  of  Piazzetta ;  and 
finally  Marc'Antonio  Franceschini 
(1648-1729),  who  became  one  of 
the  most  able  decorators  of  his  age.  Although  the  most  important 
work  of  Franceschini,  the  decoration  of  the  Sala  del  Consiglio  at 
Genoa,  has  perished  by  fire,  we  have  some  fine  examples  of  his 
brush  at  Bologna,  in  the  Palazzo  di  Giustizia  (Fig.  585). 

Meantime,  in  the  other  cities  of  Emilia  also,  the  artists  were  no 
longer  grouped  in  serried  phalanx.  Each  one,  it  may  be  said,  took 
the  field  on  his  own  account,  and  the  variety  in  the  subjects  treated 
by  them  corresponds  to  the  variety  of  their  tendencies.  Their 
work  was  no  longer  confined  to  the  adornment  of  churches  and  of 
princely  palaces  ;  they  were 
willing  to  devote  themselves 
to  the  decoration  of  the 
house  of  any  private  gen- 
tleman, to  that  of  villas, 
of  theatres,  or  of  the  seats 
of  academies.  As  for  the 
subjects  treated,  they  were 
of  all  sorts  :  sacred  themes 
and  genre  subjects  full  of 
gamesters  and  topers,  bat- 
tles, hunting  scenes,  land- 
scapes, fruit  pieces,  still-life, 
and   a   superabundance   of 


FIG.    585. — DECORATION    IN    THE    PALAZZO    DI 
GIUSTIZIA,    BOLOGNA.       FRAGMENT. 
(MARC'ANTONIO    FRANCESCHINI.) 

{Photo,  deir Emilia.) 


345 


ART  IN  NORTHERN  ITALY 


portraits — of  all  of  these  we  may  find  hundreds  lying  in  the  store- 
rooms of  our  galleries  or  on  the  floors  of  the  garrets  in  the  houses  of 
our  old  families. 

However,  a  certain  feeling  for  elegance  and  a  pleasing  bravura 
redeem  many  of  these  productions,  and  these  qualities  in  combination 
served  to  form  some  other  agreeable  painters  of  the  time.  Piacenza, 
in  the  seventeenth  century,  produced  Pier  Antonio  Avanzini,  and 
later  Felice  Boselli  (1650-1  731),  a  charming  painter  of  fruit  and  of 
animals;  Gian  Paolo  Pannini  (1691-1764),  one  of  our  most 
distinguished  painters  of  architectural  scenes  and  of  classical  ruins, 
enlivened  by  httle  figures;   Ilario  Spolverini  (1657-1734),  an  iable 

painter  of  portraits 
(Fig.  587)  and  of 
battle-scenes.  The 
outskirts  of  Roman- 
ticism were  ap- 
proached by  Fran- 
cesco Scaramuzza 
(1803-1886),  the 
illustrator  of  Dante ; 
he  was  inferior  in  his 
historical  pictures 
and  in  his  portraits 
to  Adeodato  Mal- 
atesta     of     Modena 

(1805-1891,    Fig. 

588). 

Nor  does  it  seem 
that  the  good  stock  is  yet  exhausted,  seeing  that  in  our  day  this 
glorious  land  has  given  us  Alberto  Pasini  and  Antonio  Fon- 
tanesi,  of  whom  mention  has  already  been  made  (p.  226),  Luigi 
Marchese  (1827-1862),  Giovanni  MuzzioU  (1854-1894),  Luigi 
Busi  (1843-1884.  Fig.  590),  and  Luigi  Serra  (1846-1888), 
one  of  the  most  marvellous  draughtsmen  that  Italy  has  produced  in 
the  nineteenth  century  (Fig.  589),  and  the  painter  of  the  frescoes 
in  S.  Maria  della  Vittoria,  in  Rome,  and  in  Bologna  of  those 
in  the  Irnerio. 

*  ** 

At  the  moment  of  closing  this  book  it  will  be  with  a  feeling  of 
wonder  that  the  reader  looks  back  upon  that  magnificent  series  of 
works  of  art  which  ennobles  the  part  of  Italy  here  dealt  with. 

346 


fig.  586. — visit  of  charles  iii.  to  benedict  xiv. 

(pannini.) 

Museum,  Naples.     (Photo.  Brogi.) 


EMILIA 


Face  to  face  with  these  riches  he  will  acknowledge  that  no  nation 
can  make  a  greater  display  of  wealth  or  lay  claim  to  greater  glory. 

And  yet,  passing  down  by  the 
Adriatic  coast  and  traversing  the 
Apennines,  we  come  upon  other  regions 
where  art  was  not  less  great  and  where 
the  memorials  of  it  are  not  less  splendid 
— divine  Tuscany,  with  her  perfect 
sense  of  harmony  and  beauty ;  the 
Marches  and  Umbria,  suffused  with 
melancholy  and  sweetness ;  Rome,  at 
all  times  imposing,  both  in  history  and 
art ;  the  Abruzzi  and  Apulia,  with 
their  superb  cathedrals ;  Sicily,  where 
the  perfection  of  the  Greeks  has  left 
us  stores  of  the  sweetest  honey  and 
where  the  Normans  realised  their 
dreams  of  splendour. 

And  reflecting  upon  all  this,  it  will 
be  an  easy  task  to  maintain  that  the 
country  which  in  the  course  of  so  many 
centuries  and  of  so  many  vicissitudes  of 
culture  has  again  and  again  reasserted  itself  with  aesthetic  vigour  has 
still  glorious  days  and  a  glorious  history  before  her. 


FIG.    587. — PORTRAIT   OF   ANT. 
FARNESE.       (iLARIO    SPOLVERINI.) 

Museum,  Naples. 
{Photo.  Losacco.) 


BIBUOGRAPHY  OF  CHAPTER  XXV. 

For  suites  to  cities,  &c.,  see  the  bibliography  of  the  five  preceding  chapters. — Pascoli,  Vile  del 
piUorifSculloriedarchUetU  moderni;  Passeri,  Vile  del  pillori,  scultoriedarchitetti  ecc;  Gio.  Pietro 

Bellori,  Vile  de'  pittori,  scultoried  archi- 
tetfi  moderni;  Baglione,  Vite  de' pittori, 
scultori,  architeUi  ed  intagliatori ; 
Malvasia,  Felsina  pittrice ;  U.  Thieme 
and  F.  Becker,  Allgemeina  Lexikon 
der  bildenden  Kiinstler;  Meyer,  All- 
gemeina  KUnatler  Lexikon  der  bil- 
denden Kunsl;  A.  Bertolotti,  ArtisH 
bolognesi,  ferraresi  ecc.  del  gia  Stato 
Ponlificio  in  Roma  nei  sec.  XV— 
XV III;  L.  Ctespx,  Vile  dei  pittori 
bolognesi;  A.  Bolognini  Amorini,  Vite 
dei  pittori  ed  artefici  bolognesi;  ]. 
Ticozzi,  Dizionario  dei  pittori;  A. 
Orlandi,  Abecedario  pittorico;  G.  P. 
Zanotti,  Storia  dell'Accademia  Cle- 
mentina di  Bologna ;  M.  Reymond, 
L'Ecole  bolonaise  in  Revue  des  deux 
Mondes  for  May,  1910;  C.  Ricci, 
Due  celebri  sorKtti  a  tema  in  the  Mar- 
zocco  for  March,  1 903  ;  L.  Vedriani, 
Raccolta  dei  pittori,  scultori  ed  archi- 
letii  modenesi;  A.  Gatti,  La  scuola 
dei    Carracci,    Bologna,    1668;    L. 


no.    588. — THE   DEFEAT  OF  EZEI.INO.       (aDEODATO 
MALATESTA.) 

Gallery,  Modena.    (.Photo.  Anderson.) 


347 


ART  IN  NORTHERN  ITALY 


Frati,  G.  F.  Grimaldi  detio  il Bolognese  \n  Arte  e  Sloria, 
1893;  C.  Ricci  in  Die  Galerien  Europas,  Leipsic,  1909; 
J.  Nicaens,  Un  chef-d'oeuvre  d'Annibal  Carrache  in 
Rabelais,  Nice,  1904;  E.  Ravaglia, // /anciu//o  neU'arte 
dell'Albani,  Bologna,  1908;  Schmerber,  Belrachtungen 
tiber  die  italianische  Malerei  im  17.  Jahrhunderl, 
Strasburg,  1906;  Cantaiamessa,  Guido  Reni  in  Saggi 
di  critica  d'Arle,  Bologna,  1890;  L.  Sena,  Domenico 
Zampieri  delta  il  Domenichino,  Rome,  1909;  G.  Canta- 
iamessa, Alessandro  Tiarini,  Florence,  1891  ;  J.  A. 
Calvi,  Giovanni  Francesco  Barbieri  detto  il  Guercino, 
Bologna,  1808;  G.  Cantaiamessa,  La  stile  del  Guercino, 
Bologna,  1891  ;  C.  Ricci,  //  Guercino  in  the  Illustrazione 
Ilaliana,  1893;  Bibliografia  guerciniana,  Bo\osna,  1893; 
Descrizione  de'  cartoni  disegnati  da  Carlo  Cignani  e 
dei  quadri  dipinti  da  Sebasliano  Ricci  posseduti  da 
Giuseppe  Smith  a  V  enezia,  Venice,  1749;  Einige 
Werke  des  Carlo  Cignani  in  Blatter  fur  Gemdldekunde, 
ii,  6 ;  A.  Bacchi  della  Lega,  Marco  A ntonio  Franceschini, 
Bologna,  1907;  A.  Bacchi  della  Lega,  Marco  Antonio 
Franceschini  nella  Santa  di  Bologna,  Bologna,  1 907  ;  A. 
Manaresi,  Elisabetta  Sirani,  Bologna,  1898;  A.  Bian- 
chini,  Avvelenamento  di  Elisabetta  Sirani,  Bologna, 
1854;  C.  v.,  /  Gandolfi  in  Gazzetta  dell'Emilia, 
Bologna,  1 903 ;  A.  Longhi,  Mauro  Gandolfi  e  il  suo 
viaggio  in  America  in  the  Resto  del  Carlino,  23-24 
February,  1905;  G.  Campori,  Un  artista  modenese  nella 
Cina  in  Atti  e  Memorie  della  Deput.  di  Storia  Patria 
dell'Emilia,  new  series,  iv,  p.  2,  1 879 ;  L.  Ozzola,  Opere  del  Pannini  a  Vienna  in  L  'A  rte,  xii, 
1909;  Lettere  inedite  di  Gaspare  Landi  in  the  Bollettino  Slorico  Piacentino,  1906-1907;  C. 
Hugues,  Adeodato  Malatesla,  Modena,  1893  ;  F.  Asioli  and  G.  Canevazzi,  Adeodato  Malatesia, 
Modena,  1 905;  M.  Valgimigli,  Cenni  biografici  intorno  a  FerraH  Fenzoni  pittore,  Imalo,  n.  d. ;  G. 
De  Sanctis,  Tommaso  Minardi  e  il  suo  tempo,  Rome,  1900;  F.  Manfredini,  Dell' arte  del  disegno 
nella  provincia  di  Modena  dal  1777  al  1862,  Modena,  1862;  P.  Martini,  La  scuola  parmense 
delle  B.  A.  e  gli  artisti  della  provincia  di  Parma  e  Piacenza  dal  1777  all'oggi,  Parma,  1862; 
C.  Masini,  DeU'arte  e  dei  principali  artisti  di  pittura,  scoltura  e  architettura  in  Bologna  dal  1  777 
al  1862,  Bologna,  1862;  G.  Cantaiamessa,  Luigi  Bust  in  Italia,  Rome,  1883  ;  G.  Carotti,  y4/Aerfo 
Pasiniin  Emporium,  December,  1899;  M.  Calderini,  Antonio  FonlarKsi, Turin,  1901  ;  C.  Ricd, 
/  disegni  di  Luigi  Serra  (with  bibliography),  Rome,  1909;  Catalogo  delle  opere  di  Giovanni 
Muzzioli.  Modeaa,  1895. 


FIG.    589. — DRAWING, 
SERRA.) 

Ricci  Collection,  Rome, 


(luigi 


FIG.    SOO. LAST   DAYS   OF   TASSO.       (l.riGI    BUSI.) 

Gallery,  Bologna.     (Photo.  dell'Emilia.) 


348 


INDEX 


INDEX 


References  to  Illustrations  are  indicated  by  an  * 


Ahhiaiegrasso,  144. 

Cathedral,  138. 
Abruzzi.  the,  347. 
Acqui. 

Cathedral.  206.  246. 
Acre,  15. 

Adriatic,  The,  1,260.347. 
Aertszen,  Pieter,  193. 
Agostino  di  Duccio,  276. 
Agiesti,  Livio,  323. 
Aguzio  of  Cremona,  280. 
Aimero,  211. 
Alaric,  12. 
Alba,  206,  209. 

Cathedral,  206. 
Albanj,   Francesco,  295.  338. 

341. 
Albenga. 

Cathedral,   230;    baptistery, 

231.* 
Centa  river,  230. 
Faro  Monument,  230. 
Alberegno,  Jacobello,  39. 
Alberini,  Giorgio,  219. 
Albert,  Charfes,  225. 
Alberti.    Leon     Battista.    106, 

137.  138,275.276. 
Albini  d  Moncalieri,  Amadeo, 

209. 
Albissola,  234. 
Aldna  (Ariosto's),  325. 
Aldobrandi,  Mauro,  295. 
Aleni,  Tommaso,  190. 
Aleotti.  G.  B..  297. 
Alessi,    Galeazzo,     168,    232. 

236,239,241,  242,  248, 

298. 
Aleni,  Giovanni,  237. 
Alexander  of  Bruges,  246. 
Alexandria,  14. 


Alfieri.  Count  Benedetto.  223. 
Alfonso  1.,  279. 
Alfonso  11.,  Duke,  297. 
Alfonso  11.,  King,  308. 
Alfonso  of  Aragon,  113. 
Algardi,  Alessandro,  287. 
Statue,  Innocent  X,  287. 
Tomb,  Leo  XL,  287,  289.* 
Allegri,  Antonio,  see  Correggio. 
Allegri,  Lorenzo,  326. 
Allegri,  Pomponino,  329,  33 1 . 
Almese,  205. 
Alps,  the,  110,  119,  124.  188, 

217. 
Altichiero,  98,  112. 

Virgin  and  Child  enthroned 

with    Saints  and  Angels, 

113.* 
Altinum,   15. 
Amadeo,     Giovanni     Antonio, 

125,  137.  140,  196.  197. 

198.200. 
Monument      to       Giovanni 

Borromeo,  201.* 
Amadeo,  Vittore,  225. 
Amadeus  V.  of  Savoy,  207. 
Amadeus  Vlll.,  208. 
Amati.  Carlo,  169,  173. 
Ambrogio  da  Milano,  282. 
Ambrogio  da  Predis,  147,  148, 

160,  161. 
Angel,  146,*  148. 
Ambrose,  St.,  129. 
Amidano,  Giulio  Cesare,  342. 
Virgin      and     Child     Kith 

Saints,  342.* 
Amigoni,  Jacopo,  86. 
Andora. 

The    CasteDo   Church,   230, 

232.* 
ss.  Giacomo  e  Fillipo,  230. 
Andrea,  Giovanni,  344. 

351 


Andrea  da  Fiesole,  282. 
Andrea  degli  Orgjmi,  1 30. 
Andrea  del  Sarto,  250,  253. 
Andrea  da  Valle,  104,277. 
Andreasi,  Ippolito,  107. 
Angeli,  Giuseppe,  87. 

Immaculate  Conception,  87. 
Angelo  de' Marinis,  175. 
Anguissola,     Sofonisba,       1 90, 
191,249. 

Portrait  of  the  Artist,  192.* 
Annoni  family,  171. 
Ansaldo,  Andrea,  252. 
Ansuinoda  Forli,  101. 
Antelami,  Benedetto,  265, 266. 

Descent  from  the  Cross,  265. 

Antelamo  ValleS),  234. 
Antonelli,  Alessandro,  227. 
Antonello  da  Messina,  44,  45. 
52,63,314. 

The  Condottiero,  45,  46.* 

Crucifixion,  45. 

Portrait  of  a  Poet.  46.* 

S.  Jerome,  45.* 
Antonio  da  Ferrara,  153. 
Antonio  da  Negroponte,  42. 

Virgin  and  Child,  43.* 

^n<u)erp,  45,  66.  251. 

Aosta. 

Arch  of  Augustus,  204.* 

Baths  of    Gratian  (the  aque- 
duct), 204. 

Bridge  over  the  Buthier,  204. 

Palazzo  Madama,  204. 

Perrone  Garden,  204. 

Porta  Decumana,  204. 

Ruins     of      Roman   Amphi- 
theatre, 204.* 

Sant  'Orso.  204. 
Apennines,  the,  42,  260. 
Appiani,    Andrea,     94.     177, 
184.  185. 


INDEX 


Apollo  and  Daphne,  184  ;  * 
Hercules     at     the     Cross- 
roads. 1 85  ;  5.  Elizabeth, 
185. 
Appio,  230. 
Aprile  family,  238. 
Apulia,  347. 
Aquileia,  13,  15. 
Araldi,  Alessandro,  3 1 3. 

Dispute    of   S.    Catherine, 
314.* 
Arbasia,  Cesare,  2 1 9. 
Areola.  230. 
Arda  river,  361. 
Ardente    of   Faenza,    Alessan- 
dro, 218. 
Aretusi,  Cesare,  331. 
Arezzo.l^b. 

Argenta,  see  Aleotti,  G.  B. 
Argenta,  see  Vighi,  Giacomo. 
Argo,  18. 

Aria,  Bonino  de,  236. 
Aria,  Giovanni  de,  236. 
Aria,  Michele  de,  236. 
Ariosto.  274,  275,  279,  323. 

Orlando  Furioso,  275. 
Aristotile,  281. 
Aspertini,  Amico,  313. 

S.  Augustine  baptised  by  S. 
Ambrose,  313.* 
Aspetti,  Tiziano,  35. 

S.  Martin,  36.* 
Asti,  206,  209. 
Atri,  3\4. 
Attila,  12. 
Augustus,  1,  261. 
Avanzini,  Barlolomeo,  296. 
Avanzini,  Pier  Antonio,  346. 
Avanzo,  Jacopo,  98,  1  12,  1  19. 

Crucifixion,  304.* 
Averlino,  Antonio,  see  Filarete. 
Avisliana,  205,  207. 
Azzolini,  Tito,  296. 


B. 


Badalocchio,  S. 

S.  Francis,  337.* 
Badile,  Antonio,  73,  1  16. 
Badile,  Giovanni,  1 12. 
Bagaroto,     Battista,    monument 

of,  140. 
Bagetti,  Pietro,  225. 
Ba^nacavallo. 

Church  of  S.  Pietro  in  Silvis, 
10. 
Bagnomaiino,  Lorenzo  di,  280. 


Balbi,  Alessandro,  296,  297. 
Baldassarre,  303. 
Baldinucci,  180. 
BiJduccio    of    Pisa,    Giovanni 

di,  132. 
BjJli,  Simone,  250. 
Balzaretti,  Giuseppe,  173. 
Bambaia,  see  Busti,  Agostino. 
Bambini,  Nicolo,  83. 
Banchi. 

S.  Pietro,  237. 
Barabino,  Carlo,  258. 
Barabino,  N. 

Navigation,  258.* 
Barbarossa,     Frederick,      1 30, 

195. 
Barbieri,    Giovanni   Francesco, 

see  Guercino. 
Barbieri,  Paolo  Antonio,  342. 
Barca,  Pietro  Antonio,  1 70. 
Bardo  of  Pavia,  Donate,  247. 
Barilotto,  Pietro,  282. 
Barisini  of  Modena,  Tommaso, 

40. 
Bamaba  da  Modena,  304. 
Firgin  and  Child,  306.* 
Barocci,    Federico,    180,    182, 

249. 
Crucifixion,  249. 
Baroncelli,  Niccolo,  282. 
Baronino  of  Casfile,  Barlolomeo, 

211. 
Baronzio  of    Rimini,  Giovanni, 

303. 
Death  of  the  Virgin,  303.* 
Baronzio  of   Rimini,   Giuliano, 

303. 
Baronzio     of     Rimini,     Pietro, 

303. 
Death  of  the  Virgin,  303.* 
Barosso,  Girolamo,  269. 
Barozzi,  Jacopo,  see  Vignola. 
Bartolini,  Lorenzo,  187. 
Bartolotti,  Antonio,  326. 
Bartolozzi,    Francesco,  88,  92. 
Bartuzzi,  Giacomo,  322. 
Barzaghi,  Francesco,  177. 

Napoleon  III..  177. 
Basaiti,  Marco,  46,  53. 

The  Sons  of  Zebedee,  52.* 
Basoli,  296. 

Bassano,  Francesco,  71,  72. 
The  Pope  presents  the  sword 

to  the  Doge.  72.* 
Bassano,  Francesco  (grandson), 

72. 
Beissano,  Giovanni  Battista,  72. 
Bassano,  Girolamo,  72. 
Bassano,  Jacopo,  72,  218. 

352 


The  Painter  and  his  Family, 
72.* 

Bassano,  Leandro,  72,  81. 

Bassano,  71,  92. 

Bassi,  Martino,  167. 

Bastiani,  Lazzaro,  46,  53,  55, 
63. 
Virgin  and  Saints,  49.* 

Battagio      of      Lodi,      Giovan 
Battista,  139,  189. 

Battista,  Gian,  1  1 9,  239. 

Battista  di  Giacomo,  68. 

Battoni,  94,  95. 

Baudo,  Luca,  247. 

Bazzi,    Giovanni  Antonio,   see 
Sodoma. 

Beaumont,  Claude,  224. 

Beccafumi,  Domenico,  213. 

Begarelli,  Antonio,  285. 

Belfiore,  martyr  of,  107. 

Belisarius,  1 . 

Bellano,  103,  119. 

Bellati,  Giovanni,  184. 

Belli,  Marco,  56. 

BeDini,  Gentile,  43,50,51,52, 
89,  115,  119,  120. 
The  Preaching  of  S.  Mark, 
51;*  Procession  in  the 
Piazza  of  S.  Mark,  50,' 
51. 

Bellini,  Giovanni  (natural  son 
of  Jacopo  Bellini),  43,  47, 
51,52,53,54,55,57,60, 
62,64,100,103,105,120, 
161. 
The  Alberetti  Madonna, 
51;*  Pietd,  52;''  Souls  in 
Paradise,  51,  52;*  Vir- 
gin  and  Saints.  53.* 

Bellini,  Jacopo,  38,  40,  42,  43, 
45,  46,  47,  50,  57,  89, 
101,  114,  154,  155,  315. 
Books  of  drawings,  British 
Museum  and  the  Louore, 
43 ;  Crucifixion,  114; 
Madonnas  (at  Lovere  and 
the  UfUzi),  43;  5.  George 
(a  drawing),  44;*  Virgin 
and  child,  45.* 

Bellini,  Liberale,  I  1 4. 

Bellini,  Nicolosa,  43. 

Bellini,  Vincenzo,  67. 

Bellini,  the,  63,  71,  101. 

Bello,  Jacopo,  55. 

Bellori,  340. 

Bellotto,  Bernardo,  89,  90,  91. 

Piazzetta.  Venice,  92.* 
Belluno,  85. 
Beltrami,  Luca,  133. 


INDEX 


Bembo,  Benedetto,  313. 
Bembo,  Bonifacio,  191. 
Bembo,  Gian  Francesco,  191. 
Bembo,  Piebo.  191. 
Bembo  family,  191. 
Benaglio,  Francesco,  I  1 4. 
Virgin      and     Child     vilh 
Angels,  115.* 
Bencovich,  Federico,  87. 
Benedetto  da  Maiano,  282. 
Benso,  Giulio,  232. 

Annunziata      del      Vaslato 
/resco,  251,*  252. 
Bentivogli  family,  273. 
Bentivoglio,  310. 
Benvenuti,   Gian    Battista;     see 

OrtcJano. 
Benvenuti,  Pietro,  278. 
Berengarius  I.,  195. 
Berengarius  II.,  195. 
Beretta,  Pietro,  121,  122. 
Bergamasco,      Fra     Domenico, 

124,249. 
Bergameisco,  Guglielmo,  35. 
Bergamo,69,71,88,  110,  124, 
136,  152,  154,  188. 
Capella  Colleoni,    125,   197, 

199. 
Fajade      of      the     Colleoni 
Chapel,  127.* 
Bergeggi,  230. 

Bergognone,    Ambrogio,     1 38, 
190.  199. 
Virgin     and     Child     with 
Angels,  157.* 
Bergonzi,  Padre  G.  B.,  294. 
Berlin,  120,316,321. 
Gallery,  100. 
Museum,  283. 
Bernard,  St.,  200. 
Bernardino  de'  Conti,  161 . 
Bernardino  de'  Rossi,  1 99. 
Bernardo    (scene   painter),   89. 
Bernardo  da  Venezia,  195. 
Bemeros,  Luigi,  225. 
Bernini.  Lorenzo,  30.  35,   1  18, 
176,  177,  239,257,287. 
Slalae,  Urban  VIII.,  287. 
BertelU,      Santo,     frescoes     at 

Arenzano,  238. 
Bertoia  da  Novate,  280. 
Bertolino  da  Racenza,  304. 
Bettoli,  Nicolo,  298. 
Bevilacqua,  Ambrogio,  1 38. 
Bianchi.  Mok,  186. 
Bianchi  -  Ferrari,        Francesco, 
309,313. 
Crucifixion,  310.* 
Bianco,  Bartolomeo,  242. 


Bianconi,  Carlo,  184. 

Bibbiena,  295. 

Bibiena,  Antonio,  295. 

Bibiena,  Ferdinando,  293. 

Bibiena,  Francesco,  295. 

Bibiena,  Giovanni  Maria,  293. 

Bibiena,    Giuseppe   (of  Carlo), 
295. 
Theatrical  Scene,  295.* 

Bibiena  family,  294. 

Binago,  Gian  Lorenzo,  170. 

Birago,    Arch.,    monument  of, 
140. 

Bisogni,  Andrea,  283. 

Bisogni,  Camillo,  283. 

Bisogni,  Paolo,  285. 

Bissolo,  Francesco,  56. 
The  Presentation,  59.* 

Bissone,   see  Giovanni  di   Bel- 
trame. 

Bissone,  Til , 

Bittino  da  Faenza,  304. 
Episodes  in  the  Life  of  S. 
fulian.  305.* 

Blanc,  Charles,  76. 

Boccaccio. 
Griselda,  275. 

Boccaccino,  Antonio,  192. 

Boccaccino,     Boccaccio,     1 90, 
192,  309,  323. 
Holy  Conversation,  194.* 

Boccaccino,  Camillo,  192. 

Boccaccino,  Francesco,  194. 

Boccaccino  family,  1 90,  191. 

Bociccia,  256,  257. 

Pendentive  of  the  Cupola  of 
S.  Agnese,  255;  *  Por- 
trait of  Clement  IX.,  255,* 
257 ;  Triumph  of  the 
Name  of  Jesus,  257 ; 
Triumph  of  the  Order  of 
S.  Francis,  257. 

Boiardo,  Matteo  Maria. 

Orlando  Innamorato,  273, 
275. 

BoUati,  Giuseppe,  227. 

Bologna,  Gian,  239,  250,  332. 

Bologna,  12.27,85,  105,106, 
112.  166.  169.  179.218. 
227.  240.  261.264,265, 
269,  270,  279-287.  293, 
296,  302.  303,  305,  310, 
321,  325.326,330.331, 
338.  339. 
Accademia    di     BeDe    Arti. 

293. 
Arco  del  Meloncello.  295.* 
Baraccano  Church,  283,  307. 
Capella  Garganelli,  308. 

353 


Casa  Grass!,  279. 

Casa  Isolani,  279,  280.* 

Cistern,  293.* 

Corpus  Domini  Church,  280, 

282.* 
Court  of  the  University,  293.* 
Gabella,  the,  294. 
Garganelli  Chapel,  307. 
Giardino  de'  Semplici,  293. 
Guardia  Hill,  296. 
Imerio,  the,  frescoes,  346. 
Madonna  di  S.  Luca,  296.* 
Madonna      della      Sleccata, 

283. 
Misericordia  Church,  3 1 6. 
Monte  Donato,  267. 
Museo    Civico,     Terracottas, 

288.* 
Paljizzo  Archigitmasio,  293. 
Palazzo  Bentivogli,  307. 
Palazzo     Bevilacqua,      280, 

281.* 
Palazzo  Bocchi,  292. 
Palazzo  Celesi,  293. 
Palazzo  Comunale,  window, 

292.* 
Palazzo        Davia-Bargellini, 

294.* 
Palazzo  Fantuzzi-,  281. 
Palazzo  Fava,  283.* 
Palazzo  di  Giustizia,  345. 
Palazzo  Hercolani,  296.* 
Palazzo  Isolani,  280. 
Palazzo  Malvezzi-CampeggI, 

281,294. 
Paleizzo        Malvezzi-Medid, 

293. 
Palazzo  Marconi,  293. 
Palazzo  Marescotti,  293. 
Palazzo  Montanati,  296. 
Palazzo     Municipale,    Court 

of,  27 \.* 
Palazzo  del  Podesti,  282. 
Palazzo  Pubblico,  269.  Ma- 

donna,  283. 
PeJazzo  Ruini,  1 18. 
S.  Bartolomeo,  portico,  281. 
S.  Cecilia,  310. 
S.  Domenico,  268. 
S.    Francesco,   268.*  269;* 

Reredos,  27].* 
S.  Giovanni  in  Monte,  307. 
S.  Maria  dei  Servi.  268. 
S.Maria  della  Vita,  294.* 
S.  Martino,  268. 
5.  Petronio,  27.  268,  269,* 

270,*     292-307;     Cam- 

panile,  280. 
5.  Sepolcro,  302. 


INDEX 


S.  Stefano.  262,  266.  267.* 
Sevings  Bank,  296.  297.* 
Scala  delia  Montagnola,  296. 
Ship  Canal,  292. 
Shrine  oi  S.  Dominic,  283, 

284. 
Teatro  Comunale,  296. 
Tomb      jf     Alexander    V., 

280.* 
Tomb  oi  S.  Dominic,  287.* 
The  Two  Towers,  268.* 
Boltrafiio. 

La  Belle  Ferroniere,  147. 
The    Madonna    dei    Casio, 

159;*    Portrait  of  Lodo- 

vico  II  Mora,  145.* 
Bombelli  of  Udine,  Sebasliano, 

82,88. 

Bona  of  Savoy,  144. 
Bonamici,  Giovanni  Francesco, 

299. 
Bonaparte,  General,  1 72. 
Bonascia,  Bartolomeo. 

Pieta,  307,  308.* 
Bonconsiglio,  Giovanni,  120. 

Pieia.  124.* 
Bondi,  Antonio,  23. 
Bondo,  Bergamo,  124. 
Bonesi,  Girolamo,  345. 
Bonfigli  of  Perugia,  314. 
Bonifazio  II.,  68. 
Bonifazio  111.,  68. 
Bonifazio    dei    FHtati,    63,   67, 

116. 
Bonifortein.,  212. 
Bonino    da     Campione,     111, 

133. 
Tomb  of  Consignorio,  111. 
Bono    da     Bissone,    Giovanni, 

265. 
Bono  da  Ferrara,   101,  305. 

5.  Jerome,  307.* 
Bono  of  Venice,  Gregorio,  208. 
Bononi  Carlo,  325. 
Bonsignori,      Francesco,     105, 

114,   115. 
Virgin      and      Child     with 

Saints,   115.* 
Bonvicino,  Alessandro   (D  Mo- 

reito),  123,  124. 
S.  Nicholas  of  Bari  presents 

Children    to    the    Virgin, 

126.* 
Bordone  of  Treviso,  Paris,  63, 

70,  218. 
The  R  ing  ofS.  Mark  handed 

to  the  doge,  70.* 
Borgani,  Francesco,  107. 
Borgia,  Cesare,  276. 


Borgia,  Lucrezia,  279. 
Borgo  S.  Donnino,  282. 

Cathedral,  263.* 
Borromeo,  Cardinal,  166,  182, 

184. 
Borromeo,  S.  Carlo,  165,  167. 
Borroni,  Giovanni  Angelo,  194. 
Borroni,  Vincenzo,  194. 

Borso,  277,  278. 
Borzonasca,     Parish     Church, 
230. 

Boschini,  Marco. 

Carta  del  Naoegar  pittoresco, 
79. 
Boscoli,  Giovanni,  298. 
Boselli,  Felice,  346. 
Bosisio,   185. 

Bossi,  Giuseppe,  179, 184, 185. 
Burial  of  Themistocles,  1 79.* 
Boudard,  G.  B.,  288. 
Braccesco,  Carlo,  247. 
Bramante,  117,  136,  137,  138, 
139,  140,  157,  169,  189, 
197,  200,  282. 
The    A  rgus,    1 36  ;       Casa 
Panigarola  frescoes,    1 36  ; 
The  Man  with  the  H albert, 
1 36  ;  *    The  Scourging  of 
Christ,  136. 
Bramantino  :    see  Suardi,  Bar- 
tolomeo. 
Brambilla,  Francesco,  1 74. 
Brea,  Francesco. 

Pope  S.  Fabian,  248.* 
Brea,  Lodovico,  246,  248. 

Crucifixion,  247.* 
Bregno,  Lxjrenzo,  23. 
Sreica,  I  10- 127. 155, 188, 190. 
Curia,  121. 
Forum,  121. 
Loggia,  121. 

Madonna  dei  MiraccJi,  121. 
Mausoleum     of    Martinengo, 

121,  125.* 
Old  Cathedral,  121. 
Palazzo  Martinengo,  124. 
PsJazzo  Pubblico,  288. 
Rotunda,  121,  125.* 
S.  Maria  de  Solario,'121. 
S.  Salvatore.  121. 
Statue  of  Victory,  121. 
The  Temple  121. 
Briosco,  Andrea,  103. 

Candelabrum  in  S.  Antonio, 
103,  105.* 
Briosco,  Benedetto,  140,  199. 
Madonna  and  Child,  199. 
Brunelleschi,  Filippo,  134,  135, 

137,  169,  188. 

354 


Brusasorci  :     see    Riccio,    De- 

menico. 
Brustolon,  Andrea,  36. 

Shrine  {S.  Giacomo),  37.* 
Bugalto,  Lanetto,  155,  191. 
Buonamici,  Agostino,  250. 
Buonarroti,  105. 
Buono,  Bartolomeo,  23. 
Buora,  Giovanni,  22. 
Burckhardt,  Jacob,  76. 
Busca,  Annibale,  200. 
Busi,  Giovanni  :  see  Cariani. 
Busi,  Luigi,  346. 

Last  Days  of  Tasso,  348.* 
Busseto,  275,  284. 
Bussola,  Dionigi,  1 76,  200. 

S.Dorothea,  175,*  176. 
Bussoleno,  206, 
Busti,  Agostino  (Bambai),  141. 

Birago  tomb,  141. 

Gaston  de  Foix,  141,  143.* 
Busto  Jlrsizio,  1 83. 
Butinone,  Bernardino,  155,156. 

Two  Saints,  1  56.* 

Virgin  and  Child,\56.\57* 
Buttigliera,  Jllta. 

Abbey    of     S.    Antonio    di 
Ranverso,  206,  207.* 
Buttigliera  d'ylsti,  207. 
Byzantines,  the,  13.  16. 


c. 

Cabianca,  Vicenzo,  96. 
Caccia,  Francesca,  2 1 9. 
Caccia,  Giovanni,  219. 

Thejlrlistal  Work,2\^.* 
Caccia,  Guglielmo,  2 1 9. 
Caccia,     Orsola      Maddalena, 

219. 
Caffi,  Ippolito,  91. 
Cagliari,  Paolo  :   see  Veronese, 

Paolo. 
Cagnola,  Francesco,  214. 
Cagnola,  Lugi,  172. 
Cagnola,  Sperindio,  214. 
Cagnola,  Tommaso,  214. 
Calegari,  Antonio,  122. 

Fountain      in      Piazzo     de 
Duomo,   122. 

Statue  of  S.  ylgnes,  122. 
Calisto,  190. 
Calvaert,  D.,  332,  339,  340. 

Vigilance,  'i'i'i,* 
Cambiaso,  Luca,  248,  250. 

Paradise,  249. 

Presentation  in  the  Temple, 
249.* 


INDEX 


Cambridge. 

Fitzwilliam  Museum,  57. 
Campagna,     Girolamo,     Piela, 

35.* 
Campagnola,  Domenico,  104. 
Campi,  Antonio,  193. 
Campi,  Bernardo,  193. 
Campi,  Galeazzo,  192. 
Campi,  Giulio,  193. 
Jesus  among  the  Doctors  of 

the  Law.  194.* 
Campi,   Pietto   (the  goldsmith), 

193. 
Campi  family.   179,   190,   191. 

192. 
Campione,  C.  da. 
Drawing,  153.* 
Campione,  133. 
Campionesi,  the,  198. 
Canal,     Antonio      (Canaletto), 

89,90,91, 
An  Ambassador  going  to   a 

first  yludience,  90.* 
The  Scuola  di  San  Rocco, 

89,90. 
Caneil,  Fabio,  87. 
Canal,  Giovanni  Battista,  87. 
Canaletto  :  see  Canal,  Antonio. 
Canavesio    of    Pinerolo,    Gio- 
vanni, 208.  209,  246. 
Candelo,  205. 
Candi,  Giovanni,  22. 
Cane,  Ottaviano.  210. 

Madonna      di       Fonlanelo, 

211.* 
Canova.  Antonio.  94,  177,  185, 

225. 
Monuments  of  Clement  XIII. 

and  Clement   XIV.,  94  ; 

Napoleon         I.,        176;* 

Pauline   Borghese,  %.* 
Canova,  Giuseppe,  237. 
Cantarini,  Smone,  344. 
Canti,  Giovanni,  107. 
Cantoni,  Simone,  1  72,  243. 
Canuti,  Domenico  Maria,  344. 

345. 
Canzio,  Michele,  258. 
Capellino,  Antonio,  253. 
Capellino,  Domenico,  253. 
Capellino,        Domenico        (the 

younger),  253. 
Capellino,     Giovanni     Battista, 

253. 
Capellino.       Paola     GircJamo, 

253. 
Capellino,  Pellegro,  252. 
Capodislria,  47. 
Caporali.  G.  B..  239. 


Cappudno,       Genovese  ;      see 

Strozzi,  Bernardo. 
Caprarola. 
Gesu  Church,  292. 
Palazzo  Farnese,  292.*  293. 
Capurro.  Francesco,  252. 
Caradosso  :    see  Foppa,  Ciisto- 

foro. 
Caravaggio,  78. 
Carbone,  G.  B.,  255. 

Portrait.  256.* 
Cariani   (Giovanni    Busi),    67, 
124. 
Adoration  of  the  Magi.  69. 
The  Invention  of  the  Cross, 
67  ;  *     Portrait  of  G.  B. 
da  Caraoaggio,  69.* 
Carignano.  Prince  of,  220. 
Carignano,  2(X).  234. 
SS.      Giovanni      Battista     e 

Remigio,  223.  224.* 
S.Maria.  240.241. 
Carita  brotherhood,  95. 
Carlevaris  da  Udine,  Luca,  89. 

View  of  Venice.  90.* 
Carlo,  Francesco,  194. 
Carlo  del  Mantegna  :  see  Brac- 

cesco.  Carlo. 
Carlone,  Giacomo,  237. 
Carlone,      Giovanni     Andrea, 
253,  254. 
Ceiling  in  the  Brignole-Sale 
Gallery.  253.* 
Carlone,  Giovanni  Battista,  253. 
Carlone,  Michele,  237. 
Carlone,  Pietro,  237. 
Carlone,  Taddeo,  237. 
Carnevali,  Giovanni,  186. 
Carona  (Como),  235,  236. 
Caroto,    Gian   Francesco,  105, 
115,211. 
Tobias  with  the  A  rchangels, 
118.* 
Caroto,  Giovanni,  1  16. 
Carpaccio,  Vittore,  46,  47,  50, 
55,56,63,115,119,129. 
An  English  Ambassador  to 
a    Moorish    King.    48 ;  * 
5.     George      killing      the 
Dragon.      38,*    47  ;     S. 
Stephen  disputing  with  the 
Doctors,  48.* 
Capn,  314. 
Castle    of    the    Pio   Family, 
274.* 
Carracci,   Agostino,  336,  337, 
338. 
Communion    of  S.  Jerome, 
335.* 

355 


Carracd,  Annibale,   72,    191, 

335,  337. 
Virgin      and      Child     with 

Saints,  335.* 
Carracci,  Antonio,  341. 
Carracd,  Lodovico,  336,  337, 

339,  342. 

The  Convertite,   337 ;    The 
Scalzi    Madonna,   336,* 
337. 
Carracd  family,  7 1 ,  334,  335, 

340,  344. 
Carracdo,  Francesco,  34 1 . 
Carrara,  A. 

Madonna,  191.* 
Carrara  fcimily,  98,  1 1 7. 
Carrara,  233. 
Carrari,  Baldsusarre. 

Virgin  and  Child,  3\7.* 
Carrari,  Baldetssarre        (the 

younger),  317. 
Carriera,  Rosalba,  88. 

Pastel  Portraits,  88. 
Cosa/i,  210,  219. 

Cathedral,  205. 
Casaranello,  5. 
Casella,  Francesco.  190. 
Caselli,         Cristoforo       (Tem- 

perdU),   314. 
Casena,  261 ,  299. 
Cassana,  Niccolo,  84. 
Cassano,  Scipione,  226. 

Pietra  Micca,  226. 
Cassano. 

ViUaAdda,  171, 
Cassino. 

Ch.     of     the     Holy     Gross 
(Capella  del  Crodfisso),  8. 
Caslelfranco,  60,  6 1 . 
Caslell  'Jlrquato,  264. 

Castle  and  Church,  262.* 
Castella  della  Venaria,  220. 
Castelli,  Domenico,  299. 
Castello,    Bernardo,   241,  249, 

252. 
Gerusalemme  liberata,   illus- 
trations, 249. 

Castello,  Castellino,  252. 

CasteUo.G.B.,  239,  241.248. 

Castello,  Valerio,  252. 

Rape  of  the  Sabines,  252.* 
Castelnuovo,  230. 
Castiglione,  Baldassarre,  105. 
Castiglione.      Giovanni      Bene- 
detto, 107,255,257. 

Young  Woman  and  Child, 
256.* 
Castiglione  d'Olona,  154,  198. 

Chiesa  di  ViUa,   137.*   188. 


INDEX 


Catena,  Vincenzo,  56,  57. 
Caterina       (wife       of       Gian 

Galeazzo).  195. 
Caterino,  39. 
Cattaneo,  Lorenzo,  235. 
Cavagnolo   Po. 

Abbey     of    S.    Fede.    206. 
208.* 
Cavalli,  Vitale. 

Virgin  and  Child.  303.* 
Cavazonni,  Giampietio  Zanotti, 

344. 
Cavazzola,      Paolo     Morando, 

115. 
Cavedoni,   Giacomo,  34 1 . 

Virgin  and  Child  with  SS. 
Eligius      and     Petronius, 
340.* 
Caveller-maggiore,  209. 
Cazzaniga,  Francesco,  140. 
Cazzaniga,  Tomraeiso,  140 
Celisti,  Andrea,  84. 

The  Golden  Calf.  85.* 
Cellini.  141. 
Cento,  340.  342. 

Castle,  268. 
Cerano,  200,  214. 
Cervara,  S.  Maria  del  Tiglieto. 

230. 
Cervelli.  85. 
Cesare  da  Sesto,  161.  190. 

Virgin  and  Child.  161.* 
Cesariani,    Cesare,    138,    139, 

169. 
Cesi.  Bartolomeo,  341. 

Crucifixion,  340.* 
Chambiry,  207. 
Charles  IV..  Elmperor.  195. 
Charles  v..  106.  139. 
Charles  Emmanuel.  218.  219. 
Charles  Elmmanuel  11.,  220. 
Charles  Emmanuel  IV..  224. 
Chero,  Rioer,  261. 
Chianoc,  205. 
Chiaravalle,  200,  264. 

Abbey  Ch.,  202.* 
Chienli,  Rioer,  42. 
Chieri,  Cathedral,  206.  209.* 
Chiesa  family.  276. 
Chilian     {on     Lake     Geneva) 

frescoes,  207. 
Chiodarolo.  Gian  Maria,  312. 
Chivasso. 

Cathedral,      facade,      207. 
209.* 
Christina    of    Sweden,   Queen. 

342. 
Cicogna,  112. 
Cicognara,  Leopoldo,  95. 


del  d'Oro. 

S.  Pietro,  200. 
Cignani,  Carlo.  85.  295,  344, 

345. 
Cima     da     Conegliano,     C^an 
Battista.  54,  55-63,  115, 
120.  192. 

Presentation  of  the  Virgin  in 
the  Temple,  55  ;  5.  Peter 
with  other  Saints,  54  :* 
Tobias  with  the  A  ngel  and 
Saints,  54.* 
Cirie,  205. 

Cisalpine  Republic,  185. 
Cistercians,  the,  264. 
Cittd  di  Castello,  209,  238. 
Cittadella    :       see      Lombaidi, 

Alfonso. 
Citladini,  P.  F.,  344. 

Portrait  of  a  Lady  and  her 
Son.  344.* 
Civerchio,  Vincenzo,  155,  156. 

The  Holy  Conversation,  1 56. 

Madonnas.  156. 

Nativity.  155.* 
Civitali,  Matteo,  238. 
Civitavecchia,  256. 
Clement  VII.,  106. 
Clement  VIII.,  279. 
Clementi,  P..  273,  287. 

Jldam  and  Eve,  273,*  287. 
C/ou;r,  150. 

Cocchi.  Francesco.  294,  296. 
Coducci.  the.  29. 
Cognoro. 

Fieschi  Palace.  23 1 . 

S.  Salvatore.  23 1 . 
Cologne.  112.  153. 
Coltellini.  Michele,  309. 
Communal  period,  the.  1 30. 
Como.  234. 

Cathedral,   138,   140,   189; 
side  door,  141.* 
Conducci.  22. 
Conegliano,  54. 
Conrad  of  Germany,  246. 

Ceiling  of  the  Cloister  of  S. 
Maria  di  Castello,  247.* 
Constantinople,  2,51. 

Hippodrome,  1  5. 
Contarini,  Andrea,  18. 
Contarini,  Giovanni,  80. 

Battle  of  Verona.  8 1 . 

Birth  of  the  Virgin.  80,*  81 . 
Contarini,  Domenico,  15,  16. 
Contino,  Antonio.  34. 
Cordova.  219. 
Corfu.  18. 
Corradi.  Pier  Antonio.  243. 

356 


Correggio,  69, 83. 85, 1 58, 1 80, 
181.  190,  193.  194.  251. 
252.  285.310,  325-332. 
336.  337. 
Cupola  ofS.  Giovanni  Evan- 
gelista.  327  ■*Danae,  328;* 
Decoration  of  a  room  in 
the  ex-convent  of  S.  Paolo, 
327;*  lo.  328;  Leda. 
328 ;  Madonna  with  S. 
Jerome,  328 ;  Madonna 
with  S.  Peter  Martyr.  328  ; 
Madonna  della  Scodella, 
328  ;  Madonna  with  S. 
Sebastian,  328  ;  Marriage 
ofS.  Catherine.  32S,  The 
Notte.  328;  S.  Jerome. 
334. 

Correggio,  274. 
Palace  of  Francesca  di  Bran- 
denburg. 274;  S.  Francesco, 
326. 

Corte.  Cesare.  249. 

Corte.  Valerio,  249. 

Cortemaggiore,  274. 
S.  Maria  delle  Grazie,  274. 
S.     Maria     della     Nativita, 
274. 

Corticelli  :    see   Pordenone. 

Cossa.  Francesco  del,  283,  305, 

306,  307,  308. 
Feminine  Pursuits,  309.* 

Costa,  Ippolito,  106,  193. 
Costa,  Lorenzo,  105,  106,  107, 

307,  308.309,310,311. 
313,317.324. 

Panel  in  Capella  Baciocchi, 

311. 
Portraits     of   Giovanni    //. 
Bentivoglio    family,   310, 
312;*   Triumphs,  3\0. 
Costa,   Lorenzo    (the  younger), 

106. 
Costa,  Luigi,  106. 
Sola  dello  Zodiaco  {.decora- 
lion  in),  106. 
Cotignola  :    iee  Marchesi,  G.  ; 
also  Zaganelli,  B.   and  F. 
Coustou,  1 76. 
Coysevox,  176. 
Crema.  155,  189.276. 
S.   Maria   della   Croce.   139, 
189.  141.* 
Cremona.  Tranquillo.  186. 

The  Iva.  186.* 
Cremona.  179.  191,  194.274, 
284. 
Cathedral.    192,  196,*  197. 
314. 


INDEX 


Grand      Staircase      in      the 

Palazzo  Dati,  195.* 
Crespi,  Cerano,  183. 
Crespi,  Daniele,  181,  182.  183. 

200. 
Crespi,  Cian  Battista,  181. 
Crespi,  Giuseppe,  87,  345. 
S.  John  Nepomuk  confessing 

the    Queen    of    Bohemia, 

345.* 
Crespi,  Maria  Giuseppe,  1 82. 
Creti.DonaU.  344,345. 
Cristina       (Madama      Reale), 

222. 
Crivelli,  Carlo,  42,  63. 
Annunciation,  44.* 
Virgin  and  Child  enthroned, 

43.* 
Crivelli,  Federico,  82. 
Crivelli,  Lucrezia,  147. 
Croce,  Francesco,  171. 
Crusaders,  the,  232. 


D' Alemagna,  Giovanni,  4 1 . 
Da     Levio :      see    Stefano     di 

Verona. 
Dall'Arca,  N. 
Pietd,  285.* 
Virgin  and  Child,  286.* 
Dalmatia,  15. 
Damini  da  Castelfranco,  Fietro, 

80. 
Dandolo,  Andrea,  18. 
Dandolo,  Elnrico,  14. 
Danesi  Luca,  300. 
Daniello,  235. 
Dante,     13.     107.    145.    261. 

275. 
Danti,  Giulio,  239. 
Danti,  Ignatio,  292. 
Da  Ponte  family,  7 1 . 
D'Aragona,  EJeanor,  308. 
Dardi,  Francesco,  269. 
Dario,  82. 

D' Aries,  Archbishop,  269. 
Dattaro,  Giuseppe,  194. 
Dauphin,  Charles,  220. 
Da  Valle,  169. 
David,  Jacques,  94,  185. 
D'Azeglio,  M. 

Ulysses      and      Naustcaa, 

lib* 
De  Aria  :  see  Aria. 
Debrosse,  Salomon,  222. 
Decembrio,      Pier       Candido, 

113. 


Defendente    de'    Ferrari,  209, 

210. 
Tript^ch,l\\* 
De  Fontaine,  Bernard,  264. 
Dell' Abate  Nicolo. 

Family  of  Musicians,  323.* 
Delia     Porta,    Antonio,     235, 

238. 
Delia    Porta,    Gian    Giacomo, 

174,235. 
Delia  Scala  family,  236. 
Delia    Vecchia :    see    Muttoni. 

Pietro. 
Dente  of  Ravenna.  Miirco.  32 1 . 
De  Oria  :  see  Aria. 
Desiderio  da  Settignano,  26. 
DeStauris,  196. 
D'Este,  Beatrice,  142. 
D'Este,  Isabella,  104,  105.106, 

107.  308. 
D'Este,  LeoneDo,  113,277. 
D'Este  family,  273,  306. 
Diana  :  see  Rusconi,  Benedetto. 
Diziani,  Gaspari,  86. 
DcJce,  Lodovico,  67. 
Dolceacqua. 

Castle  of  the  Doria,  230. 
Dolcebono,  Giovanni,  1 39,  1 40, 

189. 
Domenichino,  299,  340,  341. 
Communion    of  S.  Jerome, 

337.* 
Domenico  di  Paris,  282,  294. 
Domenico  de  Pietro,  237. 
Dominicans,  the,  263. 
DonateUo,  27,    99,    100,    101, 

102,  103,  305. 
Altar  of   S.     Antonio,  99, 

101. 
The  " Gattamelata,"  26,  99, 

100.* 
Donato     da     Montorfano,    39, 

156. 
Donizetti,  Gaetano,  67. 
Doria,  Andrea,  238. 
Dossi,  Battista,  325. 
Dossi,  Dosso,  193,  322,  323, 

324,  326. 
Circe,  325;*  5.  George,  325; 

The  Vision,  324. 
Dotti,  Carlo  Francesco,  296. 
Dozza,  Francesco  de,  280. 
Dresden,  55. 

GaUery,  74,  326. 
Dufour,  Charles,  220. 
Dufour,  Pierre,  220. 
Duranti,  Giacomo,  247. 
Durazzo,  18. 
DUrer,  Albert,  57. 


Elia  d* Andrea,  238. 
Elia  di  Pietro,  238. 
Einbaiaco,  Guglielmo,  232. 
Elmmanuel      Philibert,      Duke. 

217,218. 

Entella.  River,  13]. 

Ercole  1.,  278,  279. 

Erri,  Agnolo,  308. 

Coronation    of  the    Virgin, 

311.* 
Erri,  Annibale,  308. 
Erri,  Bartolomeo,  308. 

Coronation    of  the    Virgin, 

311.* 
Erri.  Benedetto.  308. 
Erri,  Pellegrino,  308. 
Erri  family,  307.  308. 


Facchetti.  Pietro.  107. 
Fabrizio    di     Moncada,    Don, 

191. 
Fadino :  see  Aleni,  Tommaso. 
Faenza,  234,261.  282,  303. 
314,322. 
Cathedral,  277. 
Gessi  Palace,  299. 
Magnanuti  Palace.  299. 
Falconetto.  Giammaria,  I  1 5. 
The  Sybil  reveals  the  Mys- 
tery of  the  Incarnation  to 
Augustus,  1  18.* 
Falzagalloni,  Stefano.  324. 
Fano,  299. 

Farnese,  Cardinal,  292,  338. 
Farnese  family,  293. 
Farsetti,  95. 
FarufHni,  Federico,  186. 

Sordello,  186.* 
Favretto,  Giacomo,  96. 

Promenade  in  the  Piazzetta, 
97.* 
Fenis,  205. 

Castle,  208. 
Ferdinand  11.,  116. 
Ferramola,  Roriano,  123. 
Fenara,  Duke  of,  30,  308. 
Ferrara,  192,  261,281,  282, 
288,  2%,  297,  302.  303. 
304.310,325. 
Casde,  279.* 
Cathedral.  266.* 
Jesuit  Church,  297. 
Palazzo     Civico,     staircase, 
278. 


357 


INDEX 


Palazzo  dei  Diamanli,  278.* 
Palazzo    Lodovico   il    Moro, 

278. 
Palazzo  Rovarella,  278. 
Palazzo     Sacrad,     doorway, 

278.* 
S.  Carlo,  297. 
S.  Maria  della  Pletk,  300. 
Theatre"de8rintrepidi,"  297. 
Ferrara- Bologna  group,  101. 
Ferrari,  Altobello,  190. 
Ferrari,  Andrea,  288. 
Ferrari,  Gaudenzio,   160,   182, 
189.211.213,214. 
Ceiling  of  the  Sola  di  Prima- 

Vera,  253.* 
Fragment  of  the  Cupola  di 
S.    Maria    dei    Miracoli, 
216.* 
Ferri,  Domenico,  295. 
Ferri,  Gaetano,  227. 
Femicci,  Francesco  di  Simone, 
280. 
Tomb  of  Tartagni,  280. 
Fed,  Domenico,  107. 
Fiasella,  Domenico,  252. 
Fieravand,     Fieravante,     269, 

280. 
Fieschi  family,  235. 
Figino,  Amhrogio,  I  79. 

Portrait    of  Lucio    Foppa, 
180.* 
Filarete.  133,  134.  137,  139. 
Fiiippi,  Cesare,  325. 
Fillippi,       Sebasdano       (Basd- 
anino),  325. 
Santa  Cecilia,  325. 
Fiiippi,  Tonmiaso,  280. 
Filippo  de'Veri,  1 53. 
Finalborgo. 

Casde  of  Gavone,  230.* 
Fioravand,  Aristodle,  1 33. 
Fiorendno,  II  Rosso,  182. 
Flanders,  246. 

Florence,  20,  21,  25,  30,  32, 
101.  104,  132,  135,  141, 
146,  158,  169,  184,  188, 
248,250,251.255.  258. 
261,287,323. 
Annunziata  Church,  250. 
Monastero      degli      Angioli, 

250. 
Pitti  Palace,  21. 
Riccardi  Palace,  2 1 . 
Rucellai  Palace,  2 1 . 
S.  Maria  Novella,  250. 
Strozzi  Palace,  2 1 . 
Uffizi,  the,  52,  169,  339. 
Focosi,  Alessandro,  186. 


Condemnation   of   the   Hu- 
guenots, 185.* 
Fogolino,  Marcello,  120. 

Virgin  and  Child,  124.* 
Fontainebleau,  292,  323. 
Fontana,  Annibale,  175,  200. 
Fontana,  Carlo,  222. 
Fontana,   Prospero,  323,  332, 
336. 
Entombment,  323.* 
Fontanellato,  Castle  of,  275. 
Fontanesi,  Antonio,  226,  346. 
Foppa,    Cristoforo,    123,    140, 

141,  191.247. 
Foppa,  Vincenzo,  1 55,  1 56. 

A  doration  of  the  Magi,  155.* 
ForFi,  261,    274,   276,   303, 
321.343. 
Carmine  Church,  299. 
Hospital     of     S.     Pelegrino, 

299. 
Palazzo  del  Podesta,  275. 
S.  Mercuriale,  267.* 
Suffragio  Church,  299. 
Formenton,  121. 
Formigine,        see        Marches, 

Andrea. 
Forno. 

S.  Giovanni,  189. 
Foscolo,  Ugo,  1 72. 
Fossano,  1 58. 
Francesca,  Pier  della,  136,305, 

307,315. 
Franceschini,         Mar' Antonio, 
345. 
Decoration   of  the  Palazzo 
di  Giustizia,  345.* 
Francesco      d'Agrate,      Gian, 

282. 
Francesco  da  Brioco,  1 36. 
Francesco  del  Cairo,  200. 
Francesco  del  Cossa,  278. 
Francesco  de'Ferrari,  256. 
Francesco  da  Rimini,  Giovanni, 
314. 
Angels  bringing  Bread  to  S. 
Dominic  and  his  Disciples, 

315.* 
Francesco         Bianchi-Ferrari, 

326. 
Franchi,  Giuseppe,  1 76. 
Francia,  281,  307-313,  320, 
322,  326. 
Adoration  of  the  Magi,  302.* 
Burial  of  S.  Cecilia,  3)2. 
Virgin  and  Child  with  Saints, 
312.* 
Francis  1.,  150,323. 
Francis  11.,  95. 

358 


Franciscans,  the,  263,  276. 
Francucci  da  Imola,  Innocenzo, 

322. 
Marriage    of  S.    Catherine, 
322.* 
Frare,  see  Bianchi-Ferrari. 
Frederico  II.,  106. 
Frisoni,  Gabriele,  278. 
Friuli,  Marquis  of,  195. 
Friuli,S.  Vito,  120. 
Fuipiano,  68. 
Fumiani,  Antonio,  84. 

Ceiling    of   S.    Pantaleone, 
84.* 


Gaggini,       Bernardino,      236, 

238. 
Gaggini  family,  237. 
Galeazzo.  Gian,  130. 
Galeazzoll.,  195. 
Galeolto,  Pavesi,  284. 
Galeppini,  Giuseppe,  343. 
Galgario,    Fra,    see    Chislandi, 

Vittore. 
Galli,     Giovanni     Maria,     see 

Bibiena,  G.  M. 
GalUna,  Ludovico,  88. 
Gallo,  Francesco,  223. 
Gambara,  Veronica,  274. 
Gambello,  Antonio,  22. 
Gandini  del  Grano,  329. 

Virgin     and     Child     with 

Saints,  328.* 
Gandolfino  di  Rorelo,  209. 
Garbagna,  214. 
Garofalo,  323,  324,  325. 
Virgin      and     Child     with 

Saints,  324.* 
Gaspare  della  Scala,  236. 
Gatri,  Bernardino,  190. 
Adoration  of  the  Sheplierds, 

192.* 
Gatri.  Fortunato,  341. 
Gaudenzio,  212,  213,  218. 
Gaulli,        Giovanni        Battista 

(Baciccia),  256. 
Gavi. 

Cathedral,  230. 
Gazzaniga,  the  brothers,  282. 
Genga,  323. 
Gennari,  Benedetto,  342. 
Gennari,         Benedetto         (the 

younger),  343,  344. 
Gennari,  Cesare,  344. 
Gennari,  Ercole,  343. 
Gennari  family,  343. 


INDEX 


Genoa.  18,81,118.168,  203, 

234,  233,  236,  237.  239, 
240,  244-251.  254.  255, 
258,  304. 

Accademia  Ligustica,  258. 
Annunziata      del      Vastalo, 

253. 
Carlo  Felice  Theatre,  258. 
Cathedral  (S.  Lorenzo),  23 1 , 

232.    234;*     Chapel   of 

S.     Giovanni,    236.    237. 

238;*  Cibo  Chapel.235 ; 

fafade,    235  ;  *     interior, 

236.* 
Ceiling        of        the        Sala 

d'Autunno,  245.* 
Loggia  Comunale,  238. 
Municipio.  the.  258. 
Palazzo     dell'      Accademia, 

258. 
Palazzo  Adomo,  240. 
Palazzo  Balbi-Senarega,242, 

243.* 
Palazzo  Cambiaso,  240. 
Palazzo  Ceilesia,  240. 
Palazzo  Centurione,  240. 
Palazzo  Danovario,  238. 
Palazzo   Dona    (Via   Chios- 

sone).       240;*       ceiling. 

242.* 
Palazzo    Doria    di    Fassolo, 

239,  240.* 
Palazzo    Doria-Tursi,    236, 

238.* 
Palazzo  Ducale,  243. 
Palazzo  Durazzo  Pallavidno. 

243. 
Palazzo     de'Ferrari,     Joor, 

237,  239.* 
Palazzo  Giorgio  Doria,  240. 
PjJazzo       Imperiale.      239 ; 

hall.  24].* 
Palazzo  Orsini,  258. 
Palazzo  Parodi,  240. 
Palazzo  Pignone,  258. 
Palazzo  di  S.  Giorgio.  232 ; 

statue  of  Antonio  Doria, 

235.  237 ;  statue  of  Fr. 
Lomellini,  239.* 

Palazzo  SauK.  240. 
Palazzo  Serra,  240.  243. 
Palazzo  Spinola,  240. 
Palazzo  dell'  Universita,  242. 

243.* 
Palazzo   in    Vice    Mele,    S. 

George   and  the  Dragon, 

229.* 
Piazza  Soziglia.  235. 
Sala  de  Coniiglio,  345. 


S.    Antonio  Abbate,  fresco. 

Elevation    of    the    Cross, 

234. 
SS.  Co«m4  e  Damiano,  23 1 . 
S.  Donato,  23 1 . 
S.  Giorgio,  235. 
S.  Giovanni  Battista  di  Pr^, 

231,234.* 
S.  Lorenzo,  see  Cathedral. 
S.  Maria,  Carignano,  242.* 
S.  Maria  di  Gastello,  23 1 . 
S.  Maria   delle  Vigne,  231, 

235. 
S.  Marta,  frescoes.  252. 
S.Matteo,  231.239,241  ;* 

cloisters.  232. 
S.  Torpeto,  242. 
Soprana  Gates,  230. 
Strada      Nuova      {now      the 

Strada  Garibaldi),  240. 
University,  the,  239. 
Vacca  Gates,  230. 
Gentile   da    Fabriano,  40,  42, 

43,  112,  153. 

Centileschi,  see  Lomi,  Orazio. 
Ghemme,  227. 
Ghiberti,  140. 
Ghirlandaio,  210,  315. 
Ghisi,  Giovanni  Battista,  106. 
Ghislandi,    Fra     Vittore,    88, 

124. 
Portrait  of  a  Young  Man, 

127.* 
Ghissoni,  Ottavio,  250. 
Ghusi,  Teodoro,  1 07. 
Giacomo  (son  of  Francia),  312. 
Giacoma  della  Porta,  see  Delia 

Porta. 
Giambologna,  282. 
Giambono,  Michele,  16,  40. 
Giampietrino,    see   Rizzi,   Gian 

Pietro. 
Giocondo,  Fra,  21,  111. 
GiolBno,  Nicolo.  115. 
Giordano.  Luca,  82.  167. 
Giorgio  dell'Aquila,  207. 

Giorgione.  46,  53,  55.  57.  60. 
62.63,64,65,69,70,71. 
79,  80,  89,  324. 
Altar-piece  at  Castel  franco. 
60;  The  Concert  {?  iy 
Titian).  64  ;  *  Ordeal  by 
Fire.  60;  The  Storm.  6];* 
The  Three  Philosophers. 
60;  Virgin  and  Child  with 
Saints.  6\ .  62* 

Giotto.  98.  99.  112.303. 
Frescoes  in  S.  Fermo,  1 1 2. 

Giovanni,  Fra,  III. 

359 


Giovanni,  S. 

The  Resurrection.  46. 
Giovanni  (the  German).  41. 
Giovanni  d" Andrea,  238. 
Giovanni  di  Beltrame.  238. 
Giovanni  da  Bologna,  39. 
Virgin  and  Saints,  40.* 
Giovanni  da  Campione,  1 24. 
Giovanni  de'Grassi,   153,   154, 

208. 
Figure     of     the     Samaritan 

Woman.  \bA. 
Giovanni  de"  Medici,  277. 
Giovanni  of  Milan,  1 33. 
Giovanni  da  Modena,  1 53. 
Giovanni  da  Oriolo,  3 1 5. 
Giovanni  "da  Piemonte,"  209. 
Giovanni  del  Sega,  274. 
Giovanni  II.,  Bentivoglio,  280. 
Giovenone,  Girolamo,  2 1 0,2 1 2. 
Virgin  and  Child  with  Saints, 

214.* 
Giovenone    (the    elder),    Giu- 
seppe, 212. 
Giovenone  (the  younger),  Giu- 
seppe, 212. 
Giovenone  family,  212. 
Girardon,  176. 
Girolama  da  Carpi,  324. 

Miracle     of    S.     Anthony. 

324.* 
Girolamo  da  Cremona,  105. 
Girolamo  dai  Libri,  115. 

S.  Anne  with  the  Virgin  and 

Saints.  117.* 
Girolamo  del  Pacchia,  213. 
Girolamo    di    Santacroce,    55, 

124. 
Girolamo  da  Treviso,  332. 
Girolamo  da  Viscardo,  236. 
Giudici.  Carlo  Maria,  1 76. 

S.  Jerome.  177.* 
Giuliano  da  Maiano,  277. 
Giuliano  de  Sangallo,  1 35. 
Giulio    (nephew    of    Francia), 

312. 
Giulio  da  Oggiono,  1 74. 
Giulio  della  Torre,  1 1 3. 
Giuoco  del  Pallone,  294. 
Giustiniani  family,  235. 
Goldoni,  88. 
Gonzaga,    Ferrante    (Duke    of 

Guastalla),  1  70. 
Gonzaga,  Francesco,  104,  105, 

274. 
Gonzaga,    Marquis    Ludovico, 

104. 
Gonzaga  of  Mantua,  the,  103, 

326. 


INDEX 


Conzaga  family,  the,  107,  1 13. 
Goths,  the.  1,  13. 
Gozzano,  2 1 4. 
Crado. 

S.  Maria  delle  Grazie,  13. 
Graines,  205. 
Crandi,  Ercole. 

Field,  3\0.* 
Crandi,  Giuseppe,  1 77. 

Beccaria,  177. 

Monument  of  the  Five  Das/a, 
178. 
Granmoraeo,  Pietro,  2 1 0. 

Virgin  and  Saints,  213.* 
Grasselli.  194. 
Graziani,  Ercole,  345. 
Grazzano,  244. 

SS.      Vittore      e       Corona, 
mosaics,  207. 
Gregario  de  Ferrari,  252. 
Grigi,  Guglielmo,  23. 
Grillenzoni,  Orazio,  325. 
Grossi,  Bartolomeo,  314. 
Grossi,  Bernardino,  314. 
Grossi,  Cosimo,  314. 
Grossi,  Giovanni,  314. 
Guardi,  Francesco,  89.  90,  91 , 
96. 

Grand  Canal,  Venice,  91  .* 
Guariento,  39,  99. 

The  Heavenly  Host,  99;* 
The  Faradise,  99. 
Guaiini,  Guarino,  22 1 . 
Guarini,  Messina,  22 1 ,  222. 
Guasfalla,  274,  282. 
Gubematis,  G.  B.  de,  225. 
Guercino.  82.  200,  340.  341. 
342,  343. 

5.  Bruno,  342. 

Venus,  Mars,  and  Cupid, 
343.* 
Guglielmo,  Marquis,  211. 
Guglielmo  of  Forli,  303. 
Guidarelli,  Guidarello,  24. 
Guintallodi  of  Prato,  Domenico, 
170. 


H. 

Hayez,    Francesco,    95,    185. 
186. 
Carmagnola,  95  ;   The  Kiss, 
95  ;  *  Laocosn,  95. 
Henry  11.  of  France,  323. 
Henry  IV.  of  France.  222. 
Heraclea,  13. 
Heruli,  the.  1 . 
Holy  Office,  Tribunal  of,  74. 


Honorius,  Elmpeior,  1 . 


II      Cappucino,     see      Strozzi, 

Bernardo. 
II  Frate  da  Galgario,  see  Ghis- 

landi. 
II  Gobbo,  see  Solari,  Cristoforo. 
II  Marescalco,  see  Bonconsiglio, 

Giovanni. 
II  Morazzone,  see  Mazzucchelli. 
U     Moretto,      see      Bonvicino, 

Alessandro. 
IlMoro,  144,  145.  146,  149. 

164. 
II  Moro  di  Verona,  see  Torbido, 

Francesco. 
11  Padovanino,  81 . 
11  Prete  Genovese,  see  Strozzi, 

Bernardo. 
II  Rosso,  see  Fiorentino. 
II  Soiaro,  see  Gatti,  Bernardino. 
II  Vicentino,  see  Micheli,  A. 
/mo/a,  271,  298. 

Palazzo  Sersanti,  277. 
Palazzo  Sforza,  276,*  277. 
Induno.  Domenico.  186. 

The  Antiquary,  184.* 
Induno,  Girolamo,  186. 
Infrangipane,  Marsilio,  280. 
Inigo  d'Avalos,  113. 
Ippolito,  Cardinal,  308. 
/sola,  101. 
Isola  Bella. 

Borromeo  Tombs,  197. 
Issogne,  205. 

Castle,  208. 
Istria,  15. 
Ivrea. 

Cathedral.    205;     St.    Ber- 
nardino, frescoes,  2 1 0. 


J. 

Jacobello  di  Bonomo,  39. 

Virgin  and  Saints,  40.* 
Jacobello  de  Flor,  40. 

Coronation    of  the    Virgin, 
42.* 
Jacopo  de'Barbari,  56,  57. 

Virgin  and  Child  with  Saints, 
57.* 
Jacopo  de  Motis,  1 99. 
Jacopo  della  Querela,  269. 

Virgin  and  Child.  269, 270.* 


Jacopo  de  Salis,  5 1 . 

Jacopo  da  Valenza,  46,  54, 

Jordaens,  25 1 . 

Julius  II.,  trihuna  of,  277. 

Julius  111.,  Pope,  292. 

Justinian,  6. 

Justus  of  Ghent,  136.315,316. 

Justus  of  Ravensburg,  246. 

Annunciation,  246.* 
Juvara,  Filippo,  221 ,  223. 


Krack  or  Carrach,  Jan,  2 1 8. 


La  Cattolica,  260. 

Lamberti,  Stefano,  122.  ' 

Lanfranchi,     Carlo     Elmanuel, 
221. 

Lanfranco,  Giovanni,  265 ,  34 1 . 
Assumption   of  the    Virgin, 
338.* 

Lsmfranco  de'Veri,  1 53. 

Lanfrani,  Jacopo,  282. 

Lange    Pier:     see     Aertszen, 
Pieter. 

Lanino,  Bernardino,  212. 

Lanino  family,  212. 

Lanzi,  253. 

Lattanzio  da  Rimini,  56. 
Saints,  56.* 

Laurana,  1 37. 

Laureti,  Tommzuo,  332. 

Lavagna. 

S.  Salvatore,  basilica,  233.* 

Lazzarini,  Gregorio,  85,  86. 
The  Charity  of  S.  Lorenzo 
Giustiniani,  85. 

Lelli,  Ercole,  344. 

Leoni,  Leone,  175,  282. 
Monument  to   Giacomo   de' 
Medici,  175. 

Leonardo  da  Vinci,  105,  1  13, 
123,  142,  144-151,  157. 
159,  160,  164,  179,  190, 
212,  280,310,313,320. 
The  Adoration  of  the  Magi, 
146;  The  Annunciation, 
1 46 :  Battle  of  A  nghiari. 
149;  Designfor  an  Eques- 
trian Statue,  145;*    The 


360 


INDEX 


Lad  Sapper.  \47*  148.* 
158;    Monna  Lisa,    149. 
151;*  The  Musician  (as- 
cribed  to).    148.    149;* 
5.  Anne.  149  ■,*S.Jemme, 
1 50  ;  *     The   Virgin    and 
Child  with  S.  A  nne.\  50* 
The  Virgin  of  the  Rocks. 
146.*   147.* 
Leoni,  Pompeo,  175. 
Leoni,  The.  167. 
Leopardi,  Alessandro. 

Base      of      Flagstaff.      St. 
Mark's.  26.  28.*  30. 
Lend.  299. 

Fortress.  230. 
Lerins.  Island  of,  247. 
Leoanto.  23\,  232. 

Walk  of.  230. 
Liberale     da     Verona,       105, 
115. 
S.Sebastian.  116.* 
Liberi  of  Padua,  Pietro.  83. 

Battle  of  the  Dardanelles.  83. 
Licinio,  Bernardino.  7 1 . 
Lido,  the.  29. 
Ugozzi,  Jacopo,  1  16. 
Liombruno.  Lorenzo,  105. 

Judgment  of  Midas,  106.* 
Lippi  Fra  Filippo,  99,  102. 
Lippo  di  Dalmeisio. 

Coronation    of  the    Virgin, 
304.* 
Z-iMa.  battle  of.  91. 
Lodi.  179. 

Church    of    the     Incoronata, 
139,  140,*  189,  197. 
Lodovico  il  Moro,  142. 
Lomazzo,  Giovan  Paolo,  1 79. 
Lombard!,  Alfonso,  286. 
Death  of  the  Virgin.  287. 
Resurrection  of  Christ.  287, 

289.* 
Shrine  of  S,  Dominic,  reliefs, 
287. 
Lombard!,  Cr!stoforo.  1 39.  1 74. 
Lombard!.  Girolamo.  35. 
Lombard!,  Pietro,  277. 
Tomb  of  Dante.  211 . 
Lombard!,  Tommaso,  35. 
Lombard!,  TuUio. 

Statue   of   Guidarello   Gui- 
darelli.  211. 
Lombard!    (Solar!)  family,  2 1 , 

23,  25,  99. 
Lombardo,  Antonio,  22,  24. 
Lombardo,  Cristoforo,  292. 
Lombardo,  Pietro.  22,  23,  24, 
25.  30. 


Lombardo,  Sante,  22,  25. 
Lombardo,  Tullio,  22,  24,  25, 

26. 
Lombards,  the,  13,  16,  234. 
Lomi,  Aurelio,  250. 
Lomi.  Orazio,  250. 

Annunciation.  250.* 
Lon</on,86,91,92,  147,  195, 
316. 
British  Museum,  43. 
Hampton  Court.  85.  104. 
National     Gallery,    59,    90, 
114. 
Londonio,  Francesco,  184. 

Rustic  Scene.  183.* 
Longhena,  Baldassare,  34. 
Longhi,  Alessandro,  88. 
Longhi,  Luca,  322. 

Virgin  and  Child  with  Saints, 
322.* 
Longhi,  Pietro,  88. 

The  Dancing  Master.  89  ;  * 
Portraits.  88. 
Longo,  Jacobino,  209. 
Lorenzi,  Stoido,  1  75. 
Lorenzo,  de'  Fazoli,  247. 
Lorenzo,  de  Luzo,  57. 

Virgin   and    Child  between 
two  Saints,  57.* 
Loreto,  69. 

House  of  Nazareth,   137. 
Lorrain,  Claude,  250. 
Lo    Scarpagnino :     see    Bond!, 

Antonio. 
Loschi,  Bernardino.  274. 
Loschi,  Jacopo,  3 1 4. 
Loth,  Carl,  82. 
Natioitv,  82. 
Lotto,    Lorenzo,    42,   46,   63, 
68,69,70,71,  123,   124, 
193. 
Man  with  the  Red  Beard, 
69;     Portrait    of   Bishop 
Bernardo   de'  Rossi,   69 ; 
Portrait  of  a   Gentleman, 
68  ;  *   Virgin  and  Saints, 
68.* 
Louis  XII..  284. 
Luca,  248. 

Luciani,  Sebastian!,  62. 
Luciano  da  Laurana,  1 36. 
Lugano,  234. 
Lugano,  Lake,  21 ,  22. 
Luini.  159,160,189,199,213. 
The  Adoration  of  the  Magi, 
1 60 ;    Ippolita  Sforza  with 
SS.    Agnes,     Scholastica, 
and     Catherine,      1  58 :  * 
Passion  of  Christ,    160; 

361 


Presentation  in  the  Tem- 
ple, 1 60  ;  Virgin  and  Child 
with  Saints,  158.* 

Luni,  ruins  at,  230. 

Lurago,  Rocco.  236. 

Luteri,   Giovanni :     see  Dcsso, 
Dossi. 

Lys,  Jan,  81. 
S.  Jerome,  6], 


M. 

Macario,  Domenico,  Elmanuele, 

246. 
Macrinod'Alba.  209,  210. 
Virgin  and  Child  with  four 

Saints,  2\ 3.* 
Macrino    d'AUadio,   jee    Mac- 

rino  d'Alba. 
Madanino,  see  Mazzoni,  Guide. 
Madrid,  93,  94,  175. 

Escurial   Palace,    167,   223, 

240. 
Maestri,  Gian  Battista,  1 76. 

5.  Aurea.  176. 
Maggiotto.  Domenico,  87. 

Painting.  88.* 
Magnasco.  Alessandro.  85,  358. 
Forest  Scene   with    Prating 

Hermits,  257.* 
Magni,  Cesare. 

HolyFamih.\i>2.* 
Magni,  Pietro,  I  77. 

Monument  to  Leonardo  da 

Vinci,  177.* 
Mahomed  II.,  51. 
Maineri,  Gian  Francesco,  313. 
Malaga,  219. 
Malamocco,  13. 
Malatesta,  Adeodalo,  1  1 3.  346. 
The     Defeat   of    Ezzelino, 

347.* 
Malatesta,     Sigismondo,      Pan- 

dolfo,  276. 
Malosso,  see  Trotti,  G.  B. 
Malvasia,  181. 
Manfred!,  Andrea,  268. 
Mangone,  Fabio,  1 69.  I  70. 
Mannini,     Giacomo     Antonio, 

295. 
Mansueti,  Giovanni.  55,  63. 
Mania,  Castle  of  208. 
Mantegazza,  Antonio,  196. 
Mantegazza.  Cristoforo.  196. 
Mantegazza  family.    135,    140, 

141,  198,  199. 
Mantegna,     Andrea,    43,    52, 

92,    98,    100-105,    107. 


INDEX 


no,  114.  115.  119,  156, 
305,309-313.326. 
The  Dead  Christ.  104;* 
Decoration  of  the  Camera 
degli  Sposi,  104;  Portraits 
oftheGonzaga.]03*  104; 
S.  James  before  the  Em- 
peror, 1 02  ;  *  Triumph  of 
Casar,  104. 

Manto,  the  Prophetess,  107. 

Mantovano,  Rina'do,  106. 

Mantua,  Duke  cf,  328. 

Mantua,    the  Gonzaga  of,  103, 

326. 
Mantua,  110,255,310. 

Castle  of  the  Gonzaga,  1 08.* 

CorteReale,  106. 

Palazzo  del  Te,  1 06  ;  *  Sala 
JelCavalli,  107.* 

Royal  Academy,  107. 

S.Andrea,  105,*  138. 
Maratta,  Carlo,  256. 
Marches,  The,  69,  303,  314, 

315,347. 
Marchese,  Luigi,  346. 
Marches!,  Andrea,  28 1 . 
Marches!,  G.  (Cotignola),  321. 

S.  Bernard  of  Chiaravalle, 
321.* 
Marchetli,  Marco,  322. 
Marco  d' Agrate,  1 75. 

S.  Bartholomew,  172,*  175. 
Marco  da  Oggiono,  161. 
Marco  da  Venezia,  232. 
Marconi,  Rocco,  57. 
Marcus  /Emilius  Lepidus,  260. 
Margaret  of    France    (wife    of 
Elmmanuel  Philibert),  218. 
Maria,  Galeazzo,  136,  144. 
Maria  Theresa,  107,  171.  172. 
Marie  Louise,  298. 
Marieschi,  Michele,  89. 
Marinis.  A. 

Pius  IV.,  172.* 

Marino,  Tommaso,  168. 
Marocchetti,  Carlo,  226. 
Marone,  Raffaello,  122. 
Martin,  234. 
Marziale,  Marco,  56,  57. 

The  Supper  at  Emmaus,  56.* 
Masaccio,  60. 
Masegne,   Jacobello    delle,    27, 

269. 

Masegne,   Pier  Paolo  delle,  27, 

269. 

Masolino  da  Panicale,  1  54,  1 88. 

Herod's  Feast,  1 54.* 
Massari,  Lucio,  341. 
Massimo  d'AzegUo,  226. 


Matteini,  Teodoro,  95. 
Matteo  da  Campione,  189. 
Martino  of  Lugano,  Loienzo  di, 

238. 
Mattoni,  Cosimo,  298. 
Mattoni,  Lorenzo,  298. 
Mazone,  Jacopo,  247. 
Mazone,  G. 

Annunciation,  210.* 
Mazzola,  Alessandro,  331 . 
Mazzola,  Filippo,  314,  329. 
Portrait  of  a  Man,  3 1 4.* 
Mazzola,  Francesco,  see  Parmi- 

gianino. 
Mazzola,  Giuseppe,  184,  225. 
Mazzola,  Michele,  330. 
Mazzola.  Pier  Ilario.  330. 
Mazzola-Bedoli,  Girolamo,  329. 
Fragment  of  a  Conception. 

330.* 
Mazzoli,  Lodovico,  see  Mazzo- 

lino. 
Mazzolino.  192,  309. 

Adoration  of  the  Shepherds, 

192. 
Mazzoni.  Guido,  284,  286. 
NativitV,  284. 
Pieia.  284, 286.* 
Mazzucchelli,    Pier    Francesco, 

183. 
Meda,  Giuseppe,  1 68,  1  70. 
Meissner,  Alfred,  93. 
MeldoUa,  Andrea  (Schiavone), 

71. 
Melone,  A. 

Virgin  in  Glory,  191.* 
Melone,  Carlo  Francesco,  1  76. 

S.  Rosalie,  1  75.* 
Melone,  sez  Ferrari,  Altobello. 
Meloni  of  Carpi,  Mario,  3 1 3. 
Melozzo     degli     Ambrosi,    see 

Melozzo  da  Forli. 
Melozzo  da    Forli.   136,    315, 

316,317,319. 
Angel.  319;*  Angel  of  the 

A  nnunciation,   316;   Por- 

trail  of  Federico  da  Monte- 

feltro,    316;     Sixtus    IV. 

appoints    Platina    his  Li- 
brarian, 317.* 
Melzi,  Francesco,  150,  161. 
Mengoni,        Giuseppe,        1 73, 

296. 
Mengs,  Raphael,  93,  94. 
Menzocchi  of  Forli,  Francesca, 

323. 
Merenda,  Fra  Giuseppe,  299. 
Merli,  Gian  Antonio,  2 1 4. 
Merli,  Salomone,  214. 

362 


Merli  family,  214. 
Messina,  44,  45, 22\. 
Michelangelo,  30,  32,  55,  61, 

62,79,83.105,117,  118, 
137,  158.  164,167,  174, 
175.  239.241.270,282, 
287,  320,  324,  325.  328, 
330,  331,332,334,  336. 
Cupid,  105;  Shrine  of  S. 
Dominic,  270  ;  Statue  oj 
Julius  II.,  270. 

Michelangelo  Anselmi,  329. 
Virgin     and      Child      with 
Saints.  329.* 

Michelangelo    da     Caravaggio. 
81,  182,254,341.  343. 
Death  of  the  Virgin,  182.* 

Michele  da  Verona.  115. 

Micheli,  Andrea  (11  Vicentino), 
80. 
Landing  of  Henrs  III.,  80  ; 
The  Sea-fight  iv  the  Cur- 
zolari  Islands,  80. 

Michelino  da  Bosozzo. 

Virgin  and  Child  rsith 
Saints,  153.* 

Michelozzi,  Michelozzo,  1 33, 
135.  137. 

Miel,  Jan,  220. 

Migliara  of  Alessandria,  Gio- 
vanni. 225. 

Milan,  Duke  of,  2 14. 

Milan,  128-143.  144.  145, 
146,150,  152,  153,  164- 
187,  188,  192,  194.212, 
213,  214,215,240,258, 
261,331,344. 

Churches. 

Basilica  Fausta,  128. 

Cathedral,  130,  134,  135- 
139,  180,  197;  Interior, 
132;*   Pinnacles,  131.* 

Delia  Passione,  Daniele 
Birago  monument,  1 40, 
142.* 

Incoronata.  140.* 

S.  Alessandro  {G.L.Binago), 
167,*  170. 

S.  Ambrogio,128,129,130,* 
184;  Canonica,  137,* 
138;   Interior,  131.* 

S.  Aquilino,  mosaics,  128. 

S.Carlo,  173. 

S.  Eustorgio,  131.  135;  Brioo 
monument,  140,  142;* 
Portinari  Chapel,  155;  5. 
Peter  Martiir  Chapel,  \35, 
136,*  198;  Shrine,  132; 
Torriani  Chapel,  153. 


INDEX 


S.  Francesco    Grande,  141  ; 

Confraternity  of  the  Con- 
ception, 147. 
S.  Fedele,  167. 
S.  Lorenzo,  168  ;    Columns, 

128,  129.* 
S.    Maria    presso    S.    Celso, 

139,  140.  168,  175. 
S.  Maria  delle  Grazie,  1 38,* 

199. 
S.    Marco,   131  ;   jJlipranJi 

monunKnl,  1  32. 
S.  Maurizio,  Interior,   140.* 
S.  Rodegonda,  138. 
S.  Satire,  138;  FafaJe,\ 40; 

RotonJa,  1 38  ;  *  Sacristy, 

139.* 
S.  Satiro  e  S.  Vittore  :  see 

Basilica  Fausta. 
S.  Simpliciano,  131. 
S.  Vittore,  168. 

Palazzi. 
Archiepiscopal,  165,*  166. 
Archinti,  184. 
Belgioioso,  171. 
Borromeo,  131. 
Clcrici.  171,  184. 
Cusani     (.A.    M.   Ruggeri), 

169.*   171. 
Dugnani.  184. 
Durini.   170. 
Giureconsulti    {V.   Seregni), 

166.*  168. 
Giustizia  {Ricchini),  1 70. 
Utta,  168.*  170. 
Marino    (G.     Alessi),     166, 

168. 
Omenoni     {Leone     Leant), 

173,*  175. 
Regione,  130. 
Rocca-Saporite  (5.  Perego), 

172.* 
Royal,  171. 
Serbelloni       (5.      Cantoni), 

172. 
Signoria.  149. 
Soimani  {F.  Grace),  171. 
General  Topography. 
Arco  della    Pace  (L.   Cag- 

nola),  169,*  172:  Sestiga 

on,  177. 
Banco  Mediceo,  155  ;   door- 
way, 134.* 
Brera,  the  (F.  M.  Ricchini), 

69,71,74.  102,120.136, 

152.  160.  168.*  171, 172. 

177.  182,  185. 
Casa  Borromeo.  frescoes  in, 

152.*  153, 


Casde  of  the  Sforza.  1 35  ;* 

bridge,  138. 
CajteUo,  die,  133.  134,  139; 

Ponticella,       169;       Sala 

delle  Jlsse,  148. 
CoUegio  dei  Dotti,  185. 
CoUegio  Ellvetico,  169. 
Galleria     Vittore     Ejnanuele 

{G.MengonO,  171.*  173. 

296. 
Great  Hospital,  1 35.* 
Loggia  degli  Osii.  131,133.* 
Military  Hospital,  1 38. 
Monastero     Maggiore,     1 39, 

frescoes,  160. 
Museum.  140. 
Ospedale      Maggiore.      1 33. 

134.  140,  197. 

Panorama  of,  128.* 

Porta   Nuova    (C  Zanoia), 

130.  172. 
Porta    Romana   (A/.  Bassi), 

165.*  168. 
Savings     Bank    (Balzaretti), 

171»*  173. 
Scala  Theatre.  171. 
Scuole  Palatine,  1 69. 
Seminary  (G.  Meda),  164,* 

169. 
Tombs  of  Bamabo  Visconti, 
Gaspare  Visconti,  Stefano, 
UmbertoIII.,  132. 
Tower  of  S.  Gottardo,  131, 

133.* 
Via  Torino,  170. 
Villa  di  Monza,  171. 
ViUa     Reale     (L.    Pollak), 

172. 
Villa    della    Simonetta    (D. 
Guintallodi),  170. 
Millesimo. 

Bormida  river,  230. 
Mincio,  the,  188. 
Minello    de'    Bardi,  Giovanni. 

103. 
Minerbio. 

Palazzo  Isolami,  292. 
Mino  da  Fiesole.  26. 
Miralieti,  Giovanni,  247. 
Mirandola,  Castle  of,  273. 
Mocenigo,  Doge  Pietro  {monu- 
ment to),  2\.* 
Moceto,  Girolamo,  53. 
Mochi.  Francesco,  282. 
Modena,  252,  260.  266.  284. 
285.  291,304.307,341. 
Cathedral    and    Ghirlandina, 

265.* 
Church  of  S.  Giorgio,  297. 

363 


Collegio  di  S.  Carlo.  2%. 
Ducal  Palace.  296. 
Galleria  Elstense.  308. 
S.  Pietro,  281. 
Villa  Malmusi.  297. 
Molinari,  Antonio.  86. 

Triumph  of  the  Holy  Ark, 

86. 
Painting   in   S.    Pantaleone, 
86. 
Molinari  da  Besozzo,  Leonardo, 
153. 
Frescoes  (Naples),  1  54. 
Molinari  da  Besozzo  Michelino. 

153,  154. 

Molinari  family.  1 54.  236. 
Molineri.    Giovanni    Antonino. 
220. 
Martyrdom  ofS.  Paul,  219.* 
Molmenti,  Pompeo.  96. 
Moncalieri. 

S.  Maria  della  Scala,  206. 
Moncalvo  :    see   Caccia.    Gug- 
lielmo. 

Mondavi.  209.  223. 
Montagna.  Bartolomeo.  46.  53. 
54.    72.    115.    119.   120. 
121. 

Virgin  and  Child  enthroned, 
with  Saints,  123.* 
Montagna.  Benedetto,   120. 
Montagnana,  1  7. 
Montalto  Dora,  205. 

Casde,  203. 
Monteberico. 

Pietd,  120. 
Montechiarugolo,  274. 
Monterosso. 

Soviore  Abbey,  230. 
Montf errata,   205,  209,  211, 

246. 
Monti,  G. 

Judas  Maccabeus,  176.* 
Monti,  Vincenzo,  172. 
Montoliveto  Maggiore,  213. 
Montorfano,  247. 
Montorio. 

S.  Pietro,  137. 
Montorsoli,     Giovan     Angiolo, 

241,282. 
Monza,      Cathedral,      189  ;  * 
Theolinda   Chapel,    1 54  ; 
Felucca  Villas.  157. 
Morandi.  Antonio.  293. 
Morandi,  Francesco,  293. 
Morelli,  Cosimo,  298. 
Morelli.  Domenico.  186. 
Moretti.  Cristoforo,  190. 
Morigia,  300. 


INDEX 


Moronc,   Domenico,  105,  114, 
113,  309. 
Virgin  and  Child.  1  1  7.* 
Morone,  Francesco,  105,  1  14. 
Moroni,  Gian  Battista,  124. 
Morozzone,  200. 
Morto  da  Feltre,  57. 

A/oiCOD). 

Gate  of  the  KrenJin,  281. 
Moser  of  Weil,  Lucas,  32 1 . 
Motto,  Raffaele,  331. 
Munari,  Pellegrino,  313. 

Virgin  and  Child  with  Saints, 
313.* 
Munich,  82. 
Murano,  40. 

S.  Donato,  41  ;    altar-piece, 
39* 

Muttoni,    Pietro    (Delia   Vec- 

chia),  80. 
The    Carrying    away,    and 

Reception  at  Venice,  80. 
Muzzioli,  Giovanni,  346. 


Naples,  5,  44,  69,  186.  237, 
246,261,284,340,341. 

S.    Giovanni    a    Carbonara, 
154. 

S.  Giovanni  in  Fonte,  5. 

Museum,  69. 
Napoleon,  Elmperor,  95,  225. 
Napoletono,  Francesco,  161. 

Virgin  and  Child,  162.* 
Narses,  I . 
Nasocchi,  the,  7 1 . 
Nazzari,  Bartolomeo,  88,  124. 
Nebea,  Galeotto,  247. 
Negretti,   Jacopo  :    see    Palma, 

Jacopo  (the  younger). 
Negri,  Pietro,  84. 
Neone.  Archbishop,  4. 
Nerviano,  Olivetani  Ch.,  1 58. 
Niccolo  deir Abate,  332.  336. 

Family  of  Musicians,  323.* 
Niccolo  dali'Arca,  266.  283. 

284,  285.  286. 
Niccolo  dali'Arca  PietJi.  285.* 

Virgin  and  Child,  286.* 
Niccolo  da  Corte,  235,  236. 
Nice,  209,  248. 
Nicola  d'Appiano,  179,  192. 
Nicolo  da  Reggio,  304. 
Noli. 

S.  Paragorio,  230. 


Nonanlola,  Abbey.  308. 

S.  Silvestro,  266. 
Novalesa,  S.  Eldrado,  207. 
Novara,  164,  181.211.214. 

Cathedral,  226,*  227. 

Fortifications.  134. 

Palazzo  Bellini,  167. 

S.  Gaudenzio.  167  ;   cupola, 
111. 
Novella     da     Polenta,     Suido, 

262. 
Noroellara. 

The  Casde,  274. 
Novell!,  Francesco,  92. 
Novello.   Domenico   Maiatesta. 

276. 
Nuti.     Matteo      (of     Nocera), 

276. 
Nuvolini.  181. 

The  Painter's  Family,  1 82. 


Odoacer.  1.  5.  13. 

Oglianico,  205. 

OWeniurg.  81. 

Oldoni.  Boniforte  I..  212. 

Oldoni,  Boniforte  111.,  212. 

Oldoni,  EJeazaro,  212. 

Oldoni,  Jous^.  212. 

Oldoni  family.  212. 
I  Onofrio.  Vincenzo,  286. 
i  Ordelaffi  family.  276. 

Oriani.  Bamaba.  1  72. 

Orseolo  1..  Doge,  15. 

Orseolo  II..  Doge  Pietro.  14. 

Orsi.  Leiio.  331. 

Ortolano.  309. 
P/eM.  309.  311.* 

Orzinovi.  119. 

Otho  III..  Emperor.  14. 

Otricoli,  Baths  of,  5. 

Ottaviano  of  Faenza,  303. 

Ottobello,  304. 

Ottobono,  234. 

Ovid,  10. 

Oxford,  195. 

Ozegna,  205. 


Pace  di  Bdtrame.  238. 
Pace  of  Faenza,  303. 
Pacchioni,  Francesco,  297. 


Padovanino  :      see     Varotari, 

Alessandro. 
Padua.  27,  43,  82,  88.  98- 
109.  no,  112,  114,  119. 
195,  306. 
Basilica  of  S.  Antonio,  99.* 
Carmini,  The,  104. 
Chapel     of     the     Eremitoni, 

102,  305. 
Chiesa  del  Santo.  24. 
Scuola   di   S.   Antonio,  103, 

104. 
University.  98.  169.  277. 
Paganino  :  see  Mazzoni.  Guido. 
Paggi,  Gian  Battista,  250,  25  I . 

255. 
Paleologo,  Giovanni.  1  13. 
Palizzi,  Antonio,  186. 
Palladio,     Andrea,     32.     117. 

118., 
Palladio,  City  of  (.=  Vicenza) , 

118. 
Pallanza. 

Madonna  di  Campagna.  189. 
Pallavicini.  the.  275. 
Pallavidno.      Gian     Lodovico. 

274. 
Pallavicino.  Orlando.  274. 
Palma.  Antonio,    68.  69,   70, 

71,  79. 
Palma,  Jacopo  (the  elder),  46. 
61.62,63.64,67,69.79, 
124.  323. 
Christ  and  the   Canaanitish 

Woman.   63.* 
Santa  Barbara.  62.  63.* 
Palma.   Jacopo  (the  younger). 
65,78,79,81,218. 
Allegory  of  the  League   of 

Cambrai,  81.* 
Last  Judgment,  78.* 
Portraits  of  the  Doges,  79. 
Palmezzano.  Marco,  277,  315, 
317,  323. 
Crucifixion.  318.* 
Frescoes  at  S.  Biagio,  277. 
Palmieri,  Giuseppe,  257. 
Panfllo,  194. 

Pannini,  Gian  Paolo,  346. 
Visit     of    Charles    IIL     to 
Benedict  XIV..  346.* 
Pansilo  :   see  Nuvoloni. 
Paoletto  :   see  Ghislandi. 
Paolo  :  see  Veronese,  Paolo. 


364 


INDEX 


Parenlino,  Bernardo,  101,  309. 
Parenzano :  see  Parenrino. 
Parenzo. 

Euphrasian  basflica,  10. 
Parini,  Giuseppe,  172,  185. 
Paris.  147,295.344. 

The    Louvre    Museum,    43, 
45,  74,  149,  167,  224. 
Parma,  Duke  of,  191,338. 
Parma.    83,     180,    190.    191, 

251,265,282,288,  302, 
313,330,  341. 

Baptistery,  302,  304. 
Cathedral,  shrine  of  S.  Ber- 
nardo degli  Uberti.  287. 
Church   of    the   Annunziata, 

299. 
Convent  of  S.  Paolo,  327.        ! 
Jesuit    College     {now    Uni- 
versity), 298. 
Madonna  della  Steccata,  281 . 
Palazzo  del  Governo,  298. 
S.      Giovanni      Evangelista, 

281.  284.*  285. 
The  "  Stradone."  298. 
Teatro  Famese.  297,  298.* 
Teatro  Regio,  298. 
Parmigianino,    170,   180.    181. 
193.  275,  300,  329,  330, 
331.336. 
Fresco  of  Diana  and  Actaon, 
275,  330  :  Painting  in  the 
Steccata     Church,     300 ; 
Portrait  of  A  ntea,  33 1 ;  * 
Virgin    and    Child    vith 
S.  Margaret.  330.* 
Parodi,  Domenico.  256. 

Decoration     Palazzo     Neg- 
roni, 256. 
Parsini.  Alberto.  346. 
Pascale  of  Savigliano,  Oddone, 

209. 
Pasini,  A. 

A    Caravan   in   the    Desert, 
226.* 
Passarotti,  Bartolomeo,  331. 
Altar-piece,      S.      Ciacomo, 
331  ;     Virgin   and    Child 
with  Saints,  332.* 
Passarotti,  Tiburzio,  337. 
Passignano,  253. 
Pasti,  Matteo,  113,276. 
Paul  HI.,  239. 
Pavese,  Bardo. 

Crucifixion.  248.* 
Paoia.  155.  195.240.249. 
Castle  of    the  Visconti,   195, 

197.* 


Cathedral,      interior,      197,  I 
202.*  I 

Certosa,  the,  134,  183.  195. 
196.199.238;/l//ar-piece, 
188;*  CAapfer //ouse,  138; 
Church  and  small  Cloister, 
198;*  door,  198;*  door  I 
of  the  small  Cloister,  200  ;* 
Facade,  197.*  199;* 
Great  Cloister,  199;* 
Maddalena  Chapel.  1 96  ; 
Tomb  of  Gian  Galeazzo, 
201. 

S.  Francesco.  200. 

S.  Maria  di  Canepanova,  1 38. 

S.   Micheie   Maggiore.    195. 

1%.*  200. 
S.  Teodoro.  200. 
Shrine  of  S.  Lanfranco.  197. 
Paoone,  205. 

Pecorari    of    Cremona.    Fran- 
cesco dei,  131. 
Pegli. 

Villa  Pallavicini.  258. 
Pellegrini.  Bianca,  275. 
Pellegrini.  Domenico.  88. 
Portrait  of  Francesco  Bar- 
tolozzi.  88. 
Pellegrini.       Pellegrino.       165, 
166.  167.  168.  174,  293. 
331. 
Pellegrini  family.  293. 
Pellegrino     de     San     Daniele. 

57. 
Pennacchi  (of  Treviso),  Giro- 

lamo,  24. 
Pennacchi,  Pier  Maria,  56. 

An  Angel.  55.* 
Perabo,  G.  B.,  177. 
Mattathias.  176.* 
Perego,  Giuseppe,  169,  172. 
Pericoli,  Niccolo,  283.  287. 
Perin  del  Vaga,  248. 
Perosino,  Giovanni,  209. 
5.     John     the     Evangelist. 
210.* 
Perugia,  238,  240. 

Rocca  Paolina.  239. 
Perugino.  119.  190.  192.  199. 

210.313. 
Penizzi.  Baldassare.  213.  274. 
Pejaro,297.  314.  344. 
Petitot.  Ennemond.  298. 
Petondi.  Gregorio,  243. 
Philip  11.,  167,239. 
Piacenza.  190,  260.  282,  293, 
321. _ 
Canons'  residence,  264. 

365 


Cathedral.  184,  260,*  263. 
Madonna  di  Campagna,  71, 

282,  285.* 
Palazzo     Comunale,     262,* 

263. 
Palazzo  del  Governo,  298. 
Palazzo  Mandelli,  298. 
Palazzo    Marazzini- Visconti, 

298. 
Palazzo  Pubblico,  264. 
S.  Agostino,  298. 
S.  Antonio,  263. 
S.  Francesco,  264. 
S.  Maria  di   Campagna,  see 

Madonna  di  Campagna. 
S.  Savino,  263. 
S.  Sisto,  282,  284.* 
Visconti,  Castle  of  the,  264. 
Piaggia     of    Zoagli,    Teramo, 

248. 
Piazza.  Albertino.  190. 

Marriage   of  S.    Catherine, 
190.* 
Piazza.  Martino.  190. 

Madonna.  191.* 
Piazza,  family  of,  1 89. 
Piazzetta,    Gian    Battista,    79, 
86,  87,  92,  182,  345. 
Beheading    of   the    Baptist, 
87 :      The     fortune-teller. 
87  ;*  S.  Dominic  in  Glory. 
87. 
Piazzetta,  Jacopo,  86. 
Piazzi,  179. 
Piccinino,  113. 

Piccio  :  see  Camevali,  Giovanni. 
Pico,  Giovanni,  273. 
Picre  di  Cento  Castle,  268. 
Piedmont,  Duke  of,  222. 
Piemontese.  G. 

Virgin  and  Saints,  212.* 
Piermarini     of    Foligno,    Giu- 
seppe. 171. 
Pietro,  Nicolo  di,  39. 
Virgin  enthroned  with  Saints, 
41.* 
Pietro  deirOrto,  189. 
Pietro  della  Vedova,  226. 
Piewe  di  Cadore,  64. 
Pigna.  247. 
Pinerolo.  207. 
Pintoricchio,  210,  313. 
Pio,  Alberto,  274. 
Pio  family.  314. 
Piola,  252. 
Piola  family,  252. 
Pippi,     Giulio,     see     Romano, 
Giulio. 


INDEX 


Piranes!,  Cian  Battuta,  91. 

Pirri,  Antonio,  324. 

Pisa.  ).  112.  250. 
Calhedral.  234. 

Pisanello,  Viltore.  40.  44,  I  12, 
113,  133.  153.  154.  305. 
Annunciation,  114;  Medal 
of  S.  Malalata,  114;* 
Medals,  113;  S.Anthony, 
114;  S.Eustace,  114;  S. 
George,  114;  Vision  of 
S.  Eustace,  1  1 6.* 

Pisano,  Antonio  :   see  Pisanello. 

Pisano,  Nicola.  324. 

Pistocchi,  Giuseppe.  299. 

Pistoia. 

Savings  Bank,  296. 

Pitati.  Bonifazio  dei,  68.  72. 
Pitteri.  Marco,  9 1 . 
Pittoni.  Gian  Battista,  86. 
Mar\)  Magdalen.  86.* 
The  Miracle  of  the  Loaves 
and  Fishes,  86. 
Pizzafuoco  :   see  Dattaro,  Giu- 
seppe. 
Pizzi,  Angelo,  95. 
Pizzolo,  Niccolo,  101. 
Platina  (librarian).  3 1 6. 
Ploti     of     Novara,     Bartolino, 

279. 
Po,the,  188,  194,260.279. 
Podacotaro,  Livio.  30. 
Polenta    of    Ravenna.    Guido, 

143. 
Poletti,  Luigi,  299. 
Polidoro,  79. 
Pollaiolo,  315. 
PoUak,  Lodovico,  172. 
Pomarance   :       see      Roncalli, 

Cristoforo. 
Pomedello.     Giovanni     Maria, 

113. 
Pomposd,  262,  303. 

Fayade  of  the  Church,  261  .* 
Ponte,  Antonio  da,  32. 
Ponzone.  M., 
SS.     Qeorge,    Jerome,     and 
Clerrxnt,   8 1  .* 
Pordenone  (Giovanni   Antonio 
de*    Corticelli),    70.    121, 
190,  274,  323. 
Frescoes,  71. 
Pordenone,  7 1 . 
Porlozza,  235. 

Portigiani  of  Fiesole,  Lapo,  280. 
Portinari,  Pigello.  135.  155. 


Poriofino. 
S.  Fruttuoso.   Tombs  of  the 
Dona,  230,  233.* 
Porto  Ventre. 

S.  Bartholomew.  230. 
S.  Pier  d"  Arena.  230. 
S.  Pietro,  ruins,  230. 
Possagno,  94. 
Poussin.  299. 

Pozzo  of  Trent,  Andrea.  92. 
Pra. 

Collegiata  dell  'Assunta,  236. 
Pralo. 

S.  Maria  delle  Careen.  155. 
Prete  Genovese  :     see   Strozzi, 

Bernardo. 
PretiMattia.  183. 
Previtali.     Andrea,     56,     57. 

124. 
Prevosto.  Andrea.  176. 
Primaticcio.      Francesco,     106. 
292,  323,  336.  337. 
Casar  causes  Memorials   of 
Pompey  to  he  burnt,  320.* 
Procaccini,  Camillo,  180,  181  — 

183. 
Procaccini,      Carlo      Antonio, 
180. 
Disputation  in  the    Temple, 
180. 
Procaccini.  Ercole.  180. 
Procaccini,  GiuBo  Cesare,  180. 
181.  183. 
The  Magdalen,  180.* 
Procaccini     family,     the,     1 79. 

200. 
Prospero  :    see   dementi. 
Provaglia.  Bartolomeo.  294. 
Pseudo-Boccaccino.  1 79,  1 92. 
Puget.  176,235. 
Punta  della  Maestro,  260. 


Quaini.    Felici   Lugi,  345. 
Quarto. 

S.  Girolamo,  Adorno  monu- 
ment, Tib. 
Quercia,  Jacopo  delta,  27,  284. 

Tomb  of  the  Vari,  2S4. 
Quirino,  St..  232. 
Quirizio  da  Murano,  42. 

5.  Lucia,  41.* 

366 


Radagasius,  12. 
Ralfaele  da  Reggio. 

Tobias  and  the  A  ngel,  331.* 
Ralfaello  de'  Rossi,  246. 
Raggi.  Pier  Paolo.  257. 
Raibolini,       Francesco  :        sec 

Francia. 
Raimondi.  Marcantonio,  32 1 . 
Rambaldi,  Benvenuto. 

Dioina  Commedia,  275. 
Rambaldo.  Laudadio,  303. 
Ramenghi,  Bartolomeo  (Bagna- 
cavallo).  322. 
Circumcision,  321. 
Rangoni.  the.  273. 
Ranzi,  Lodovico,  288. 
Rapallo. 

Valle    Ciisti    Church,    230. 
231. 
Raphael,    79.    83.    115.    121, 
158,  164,  190.311,  312. 
313.321.322.  323.328. 
330,  332,  334. 
Madonna  di  S.  Sisto,  321  ; 
S.  Cecilia,  320.  321 :   5. 
Paul.  334. 
«auenna,  1-1 5,  261,  263,277. 
282.299.300.315,345. 
Cathedral,    6.    299;*    bap- 
tistery and  belfry,  4,*  5  ; 
crypt,  9. 
Galla  Placidia.  3.  4  ;  chapel. 
3,*  4,  5  ;  mosaic.  The  Good 
Shepherd,  3. 
Loggia    of   the   Giardino  dei 

f^ortuensi,  277.* 
Palazzo  Responi  delle  Teste, 

300. 
S.  Alberto  Monastery,  262. 
S.  Apollinare   in   Classe,  6  ; 

crypt,  9  ;  interior,  1 0.* 
S.  ApoUinare  Nuovo,  4  ; 
interior,  5  ;  *  mosaics. 
Prophets,  and  Virgins,  7.* 
S.  Croce  (Holy  Cross),  5.  7. 
S.  Francesco,  crypt,  9. 
S.  Giovanni  Evangelista,  3  ; 

Apse,  2  ;  *  door,  266.* 
S.    Maria     in    Porto    Fuori, 

300,*  303,  308. 
S.  Vitale,  6,  7,  8  ;  *  cupola, 
302  ;  monks,  285  ;  mosaic 
of  Theodora,  9  ;  *  tomb  of 
Galla  Placidia,  8.* 
Theodoric,  Palace  of,  8,  9, 
1  10  ;  *   mosaic,   1.* 


INDEX 


Reggh.  260,  265.  273.  284. 
287.  296. 
Casa  dei  Manfredi,  281 . 
Cathedral,  287. 
Madonna  delta  Ghiara,  296, 

297.* 
Oratory  of  S.  Girolamo.  297. 
Rembrandt,  92. 

Reni.   GuJdo.  72.  339.  340, 
341,343,344. 
Aurora.  334,*  339. 
Hippomenea     contenJing    in 
the  Tiace.  339  ;   Massacre 
of    the     Inrtocenls,    339  ; 
Samson,  339. 
Renieri  of  Maubeuge.   Nicold. 

81. 
Revello. 

Abbey  of  Staffarda.  206. 
S.    Secondo    di   Cortazzone. 
206. 
Reyndds,  88. 
Rhine  Valley.  246. 
Riario  family,  276. 
Ribera.  183,  252. 
Ricca,  Giovanni  Antonio,  222. 
Ricchini,  Domenico,  1 70. 
Ricd.  Marco,  91. 
Ricd,  Sebasliano.  82,  85,  86. 
91. 
The  Magistrates  of  Venice 
worshipping  the  Body  of 
S.  Mark.  86. 
Pius  V.  and  Saints,  85.* 
Riccio   (of  Verona),   Antonio, 
21.  22,  198. 
Eve  and  Adam,  24,*  26. 
Ricdo,  Domenico,  1  16. 
Ricdo  :   see  Biiosco,  Andrea. 
Ricdo,  the,  29. 
Riceputo,  Matteo  di,  277. 
Ridolfi  of  Lonigo,  Carlo,  80. 

Adoration  of  the  Magi,  83.* 
Ridolfo  :  jee  Aristotile. 
Riemenschneider,  Tilmann, 

285. 
/?/m/n/,260,  261,299,  304. 
S.  Francesco,  276. 
"TempioMalatestiano,"  276. 
Triumphal  Arch,  261. 
Rinaldo  (Ariosto's),  325. 
Rinaldo  de'  Stauris,  1 96. 
Riomaggiore,  23 1 . 
Rioarolo,  247. 
Rizzi,  Gian  Pietro,  161. 
Roberti,  Ercole.  101,  305,  306, 
307.308.310.313.315. 


Pala    Portuense    altar-piece, 
308.  309.* 
Robusti,     Domenico     (son     of 
Tintoretto),  78. 
Mary  Magdalene,  79.* 
Robusti,  Jacopo  :  see  Tintoretto. 
Rocca,  Antonio,  242. 
Roccablanca,  Castle  of,  XI A. 
Rocca-Saporiti.  the.  281. 
Rocchi,  Cristoforo,  2(X). 
Rodari,  Bernardino,  140. 
Rodari,  Giacomo,  140. 
Rodari     of    Como,    Tommaso, 

140. 
Rodari,  the,  189. 
«omagna.  218,  261,  267,  275, 
280,303.314,  315.321, 
325. 
Cathedral  of  S.  Leo,  267. 
Palazzo  Comunale,  299. 
S.  Agostino,  298. 
S.  Cassiano,  299. 
Romani         Girolamo  :  see 

Romanino. 
Romanino,  123,  124,  190,  193. 
Romano,     Giulio.     105,     106, 
194,  292. 
Wedding    Feast    of   Cupid 
and  Psyche,  107.* 
Romano,  Cristoforo.  199. 
Rome,  30,32,61.62,  79,83, 
89,  104.  118,  119,    136, 
141,  142,  170,  174,  179, 
182.  183,  188,  210,  220, 
225,  235,239.248,251, 
255,  257,261,292,308, 
313,323,  330,340,341, 
347. 
Cancelleria,  the,  137. 
Collegiate  Church,  1 88. 
Francesco  Trevisani    School, 

224. 
Galleria  Farnese,  338. 
Holy     Apostles,   Church    of 

the,  316. 
Palatine  HiU,  13. 
Palazzo  Farnese,  337. 
Palazzo  del  Giardino,  338. 
Palazzo  Massimo,  169. 
Palazzo  Venezia,  20. 
Rotonda,  the,  8. 
S.  Ignazio,  facade,  287. 
S.  Maria  della  CaritJ,  98. 
S.  Maria  della  Pace,  cloisters, 

169. 
S.      Maria      della    Vittoria, 
frescoes,  346. 

367 


S.  Paolo.  299.  300.* 
S.  Peter's.  131.  24  hQufrina/ 
and    the    Sacristy,    316  ; 
Tomb  of  Leo  XL.  287. 
Sistine  Chapel.  200.  270. 
Vatican,    211,     321,    325; 
frescoes,  307;  library,  3 1 6. 
Via  Ap{Na.  8. 
Vflla  Adriana.  5. 
Villa  Agostino  Chigi.  213. 
Villa  Giulia.  292. 
Rome.  Sack  of.  29,  239,  256. 
Romney,  George,  88. 
Roncalli,  Cristoforo,  250. 
Rondani,  Francesco  Maria,  329. 
Virgin      and     Child     with 
Saints.  329.* 
Rondinelli.    Nicold.    56.    315. 
317. 
The      Miracle      of     Galla 
Placidia,  58.* 
Rosa  da  Tivoli.  1 84. 
Rossellino,  Antonio,  26,  282. 
Rossetti.  Biagio,  278. 
Rossi,  Pier  Maria,  275. 
Rossini,  Gioacchino,  67. 
Rubens,   Peter   Paul.    76.   81. 

250.  251.252. 
Rubeus,  Bartolomeo,  246 
Ruggeri,  Anton  Maria,  171. 
Ruggero  (Ariosto's),  325. 
Rusconi   or  Di2ma,   Benedetto, 
55. 
Virgin      and     Child    with 
Saints,  55.* 
Rusnati,  Giuseppe,  176,  200. 
Elisha.  174.* 


Sabbatini,  Lorenzo,  331. 

Assumption  of  the   Virgin, 
332.* 
Sacchetti,  G.  B.,  223, 
Sacchi,  Gas[>are,  194,  317. 
Sacchi,  Pier  Francesco,  248. 
Salaino,  Andrea,  161. 
Salassa,  205. 
Salimbene,  Fra^. 

Chronicle,  Tib. 
Salimbeni    (Brothers)    of    San- 

severino,  153. 
Salimbeni,  Ventura,  250. 
Salmeggia,  Enea,  124,  181. 

Martyrdom  of  S.  Alexander, 
181.* 


INDEX 


Sa/uzzo,  206.  207.  219. 

Castello  della  Manta,  frescoa 
in.  153. 

S.  Giovanni,  207. 
Salvage  f:unily,  235. 
Seunacchini,  Orazio,  331. 

Coronation    of  the    Virgin, 
333.* 
Samengo,  Ambrogio.  255. 
Sammicheli.  Michele,  29.  1  1  1 . 
Sampietro,  Stefano,  1 76. 
S.  Andrea,  Castle  of,  29. 
5.  Qiorio,  IQb. 
S.    Quame,   near    Caslelnuovo 

Berardenga,  250. 
S.  Francisco  d'Abaro. 

Valla  Cambiaso.  240. 
S.  Leo. 

Parish  Church,  262. 
S.  Luca. 

Crimani  palaces,  29. 
S.  Michele. 

Bishop's  Palace.  205.* 
5.  Pier  d' Arena,  258. 

Palazzo  Scassi,  244.* 

Villa  Scassi.  241. 

Villa  Spinola,  241. 
5.  Polo. 

Comer  at,  29. 
S.  Remo. 

S.  Sire.  230. 
S.  Secondo,  Castle  of,  275. 
Sangallo.  Giuliano  da.  8. 
Sangioigio.  Abondiio,  177. 
Sanmicheli  of  Portezza,  Matteo, 

211. 
Sansovini,  the,  287. 
Sansovino.  Andrea,  238. 
Sansovino   (Jacopo  Tatti).   16, 
29,  30,32,99.  121.  167, 
174,239. 
Sante,  280. 
Sanvitali,  the.  275. 
Sardi.  Anton  Francesco.  278. 
Saronno,  160. 

"Santuario,"189;*  Frescoes, 

■     214.216.* 
Sarriod-la-tour,  205. 
Sarzana,  see  Fieisella.  Domenico. 
Sarzana,  230. 
Sassuolo,  34 1 . 

Palace  of  Borsod'Este,  308. 
Savigliano,  209.  220. 
Savoldo.  Girolamo,  71,  247. 
Saoona,  234.  236.  245. 247. 

Cathedral.  235. 
Nostra  Signora  della   Miseri- 
cordia,  237. 


Sistine      Chapel,      tomb     of 
Sixtus  IV.  's  parents,  236. 
Scaccieri,  Gian  Antonio,  309. 
Scaletti,  Leonardo,  315. 

Virgin  and  Child  voilh  Saints, 
315.* 
Scaligeri  erf  Verona,  the,  117. 
Scamozzi,  Vincenzo,  32,  1  18. 
Scandiano,  Castle  of,  273. 
Scannabecchi.  Lippo,  303.  304. 
Scaramuzza.  Francesco,  346. 
Scarsella,     Ippolito,    see    Scar- 

sellino. 
Scarsellino,  325. 

Prc/<3,325.* 
Schedoni,  Bartolomeo,  342. 

Virgin  and  Child,  34\.* 
Schiavone,  Giorgio,  101. 

Virgin  and  Child,  \0\.* 
Schifanoja  Palace,  278. 
SchOnbrunn,  85. 
Scopelo. 

S.  Oonato.  monks  of,  1 46. 
Scovegni,  Enrico.  98. 
Sebastian  del  Piombo.  55,  63. 

S.    Chrysostom     and    other 
Saints,  59.* 
5eiemco,  71.  101. 
Segantini.  Giovanni.  186. 

./I t  the  Spring,  187.* 
Seiter.  Daniel.  220. 
Selva.  Gian  Antonio.  95. 
Selvo.  Domenico.  1  5 . 
Semini.  Antonio,  248. 

Martyrdom   of  S.   JlndreW, 
249.* 
Semini,  Ottavio,  199,  200. 
Semitocolo,  Nicolello.  39. 
Senarega.  Doge  Matteo,  249. 
Serafini.  Serafino,  304. 

Virgin  and  Saints,  306.* 
Seregni,  Vincenzo,  168. 
Serinalla,  61 ,  68. 
Serlio,    Sebastiano,    279,  291, 

'294. 
Serra,  Luigi,  346. 

Drawing,  348.* 
Serravalh  di  Vittoria,  54. 
Seville,  238. 
Sforza,  Caterina.  277. 
Sforza.   Francesco.    113.    133. 
136,  144.  196. 

Sforza,    Galeazzo  Maria,    1 36, 

144,  199. 
Sforza,  Lodovico  di  Francesco, 

147. 
Sforza  family,  144,    164,    165, 

170. 
Schiaffino,  Bernardo,  235. 

368 


5tena.  2 13,  250. 

Fonle  Gaia,  269. 
Signorelli,  Luca,  137,  210. 
Signoiia.  the,  5 1 . 
Simone  da  Pesaro. 

Repose  in  Egypt,  344.* 
Simone  de  Corbetta,  1 52. 
Simone  of  Fiesole,  Francesco  di, 

277. 
Simonetta,  Carlo,  200. 
Martyrdom  of  S.  Ambrose, 

173.*  176. 
Simonetta,  Cicco,  144. 
Sinigaglia,  299. 
Sisto,       Rosa      (Badalocchio), 

341. 
Sixtus  IV..  316. 
Snyders,  Frans,  25 1 . 
Sodoma,  210.  211.  212.213. 

217. 
Adam  and  Eve,  215;*    5. 

Sebastian,  215;*    Trance 

of  S.  Catherine,  214.* 
Soiaro. 

Adoration  of  the  Shepherds, 

192.* 
Solari.    Cristoforo.     139,     140, 

141,  159.  199. 
Adam,  1 43  ;  *  Monument  to 

Lodovico  Sforza  and  Bea- 
trice d'Este,  200.* 
Solari,  Giovanni,  1 34. 
Solari,    Guiniforte,    134,     1%, 

197. 
Solari  family,   134,    135,    159, 

235  (see  also  Lombardi), 
Solario,  Andrea,  159,  199. 
Christ    Bearing   the    Cross, 

159;    Ecce  Homo,   159; 

Portrait  of  a  Man,  159.* 
Solfarolo.    see   Tavella,    Cario 

Antonio. 
Solini,  Valentino,  295. 
Soprani.  Raffaele,  256. 
Sordello.  107. 
Sormano  family,  236. 
Sormano,  Pace,  236. 
Sorri,  Pietro,  250,  253,  254. 
Spada,  Lionella,  341. 

Vision  ofS.  Francis,  339.* 
Spagnuolo,  Lo,  182. 
Spalla,  Giacomo.  225. 
Spani.  Bartolomeo.  281.  287. 
Spanzotti.  Francesco,  210. 
Spanzotti,   Gian  Martino,  209. 

210,212. 
Virgin  and  Child.  2\2.* 
Spanzotti,  Pietro,  210. 
Spavento.  24. 


INDEX 


Sperandio,  280. 

Tomb    of   Alexander    V., 
284. 
Speranza,  Giovanni,  120. 
Virgin  and  Child  with  SS. 
Bernardino  and  Francis, 
123.* 
Spe2zia,  Gulf  of,  230. 
Spolverini,  Uario,  346. 

Portrait  of  Antonio  Farnese, 
347.* 
Squarcione,    Andrea,   44,   46, 

305,  307. 
Squarcione,  Francesco,  4 1 ,  99, 
100.101,  103. 
S.  Jerome  and  other  Saints, 
101  ;*  Virgin  and  Child. 
102.* 
Stefano,  38,  112, 153,  154. 
Stiozzi,  Bernardo,  81,  254. 
The   Beggar,    254;     Christ 
and  the  Pharisees,  254 ;  * 
Guardian  Angel,  81  ;   S. 
Sebastian,  8 1 . 
Stiozzi,  Costanza,  274. 
Stiozzi,  Tito  Vespasiano,  113. 
Stupinigi. 

Castle.  223.* 
Suaridi,  Bartolomeo,  139,  157, 
192,213. 
Crucifixion,  157. 
Susa. 

Cadiedral,  205  :  Apse,  206.* 
Syria,  monuments  of,  8. 


T. 

Tabacchi,  Odoardo,  1 77. 

S.  Mary  of  Egiipt.  178.* 
Tacconi  of  Cremona,  Francesco, 

56,  190,  314. 
Tacconi.  Filippo.  190. 
Taggai,  246. 

Convent    of   S.    Maria   della 
Misericordia,  247. 
Tagliafico,  Andrea,  243. 
Taine,  H.  A..  76. 
Talpino,  see  Salmessia,  Enea. 
Tamasnino,  see  Antonio  della 

Porta. 
Tassi,  see  Buonamid,  Agostino. 
Tassoni.  Alessandro. 

La  Secchia  Rapita,  275. 
Tatti,  Jacopo,  see  Sansovino. 
TaveQa,  Beniardino,  300. 


Tavella,  Cario  Antonio,  257. 

Tempesta,  258. 

Teniers     (the    elder),     David, 
251. 

Teotocopulo  (11  Greco).  79. 
Christ     healing     the     Blind 
Man,  80.* 

Terribilia,   see   Morandi, 
Antonio. 

7~er/ona. 
Annundata, /rescoej,  207. 

Theodoric,  1,5,  7,  13. 
Tomb  of,  6.* 

Tiarini,  Alessandro,  34 1 . 
Enlombmenl,  338.* 

Tibaldi.  P.,  293.  332.  336. 
Adoration  of  the  Shepherds, 
332.* 

Tibaldi  family.  293. 

Tiberius,  1 . 

Ticino,  the,  188. 

Ticinum,  afterwards  Pavia. 

Ticozzi.  181. 

Tiepolo,  Gian  Battista,  38,  64, 
67.  78,  85, 86, 87, 88, 92, 
93,94.99,125,171,182, 
184,  225. 
Christ  bearing  His  Cross, 
94;*  Virgin  enthroned  with 
Saints,  93.* 

Tiepolo,    Giovanni    Domenico, 
87. 

Tief)olo,  Lorenzo,  87. 

Tinelli,  Tiberio.  81. 

Portrait    of    Luigl    Molin, 
82.* 

Tino. 
Convent,  230. 

Tintoretto,  16,  35.  63,  64,  66, 
72.73.74,75,78.79,80, 
82,  336. 
Christ  before  Pilak,  75;* 
The  Crucifixion,  75";  The 
Miracle  of  S.  Mark,  76.* 

Tintoretto,  Domenico,  79. 

Tisi,  Benvenuto,  see  Garofalo. 

Titian.  16.35.46.53.55,63. 
64.65.66,67,70,71,72, 
74,79,80,82,89,99.103, 
104,  116,  123,  124,  158. 
193.  249.  324,  336.  337. 
Assumption  of  the  Virgin, 
66,* 76;  The  Concert (?hy 
Giorsione)  64.  *65;  Jacopo 
Pesaro  in  Prayer  before 
S.  Peter,  66 ;  Portrait  of 
an  unknown  man,  66  ;  * 
Sacred  and  Profarte  Love, 
65,*  66. 


Tolentino. 

S.  Nicholas,  Chapel  of,  303. 
Tomba.  Lotaiio.  298. 
Tonducd,  Giulio.  322. 
Torbido,  Francesco,  1  16. 

Portrait  of  a  Man,  120.* 
Torchiara,  Castle  of,  274.* 
ToreUi,  AchiUe,  274. 
Torelli,  Barbara,  274. 
Torregiani,  Alfonzo,  296. 
Tours,  284. 
Traballesi,  Giuliano,  184. 

Cupid  and  Psuche,  183.* 
Tramello.  Alessio.  282. 
Trebbia,  river,  260. 
Trescore  Balneario,  frescoes  at, 

69. 
Treoiglio,  155,  156. 
Treoiso,  69,  304. 

Cathedral,  24. 

S.  Nicolas,  69. 
Trezzo,  Giacomo,  167. 
Triachini.  Bartolomeo,  293. 
Tribolo,  see  Pericoli,  Niccold. 
Trino,  210. 
TroUo.  275. 
Tronlo,  river,  42. 
Trotti.Gian  Battista,  191. 
Tubertini,  Giuseppe,  294. 
Tullio.  235. 
Tuncoto,  Giorgio,  209. 
Tura.  Cosm^,  101.  283,  305. 
306,  308. 

Annunciation,  306,  308.* 
Turbia,  229. 

Turin,  203,  209,  212,  219, 
221,222,224,225. 

Annunciata,  the,  221. 

Cathedral  Chapel,  222. 

Consolata  Church,  220.* 

Carmini  Church,  223. 

Castella  del  Valentino,  22 1  ,* 
222. 

Castello  della  Veneria,  22 1 . 

Corpus  Domini  Church,  22 1 . 

Ducal  Palace  {.rtow  Reale), 
221. 

Mint.  the.  217. 

Mole  Antonelliana.  227.* 

Palazza     Carignano,     220,* 
221. 

Palazzo    Carignano,    Piazza 
Carlo  Alberto.  225,*  227. 

Palazzo  Madonna,  217.  223. 
Grand  staircase,  222.* 

Palazzo     and     Piazza     del 
Municipio,  219.* 

PalazzoReale,  220.  221. 

Razza  Carlo  Alberto,  227. 


369 


INDEX 


piazza  San  Carlo,  22 1 . 

Porta  Palatina,  204,  203.* 

Royal  Palace,  224. 

Sagra  di  S.  Michele,  205. 

S.  Ctistina,  fagade,  223. 

S.  Lorenzo,  22 1 . 

S.    Sindone,     Chapel,    221, 
222.* 

Superga,  the,  22 1  ,*  223. 

University,  222. 
Turing,  the,  I . 
Tuscany,  Dukes  of,  30. 


Uccello,  Paolo,  99,  102,  136. 
Udine.  238. 
Ugone,  Bishop,  211. 
Vmbria.  42,  1 58.  240,  347. 
Urbino.  79,  136,234,316. 
Utili,  G.  B.,  315. 

Virgin      and     Child     with 
Saints,  3\6.* 


Vacca,  Luigi,  225. 

Drop  -  scene,  Carignano 

Theatre,  225. 
Vaga,  Perin  del,  323. 
Val   d'Intelvi  family,  237  (see 

also  the  Carloni  mentioned 

ibid.). 
Valduggia,  2\3,  225. 
Valentino,  Duke,  105. 
Valsolda,  165,236. 
Vandyck,    Antony,    81,    191, 

250,251,252,255. 
VanDyck,  Floris,  193. 
Vanvitelli,  Luigi,  171. 
Varni,  Santo,  258. 
Varotari,     Alessandro     (Pado- 

vanino),  82,  83,  104. 
Marriage  Feast  at  Cana,  83; 

S.     Liberale     freeing    the 

condemned  prisoners,  82  ; 

Triumph  of  Venus,  83.* 
Vasari,  61,  76.  77,  169.308. 

313.  320. 
Varese,  183.  188. 

Madonna  de'  Monte,  1 89. 
Varollo. 
Sacro  Monte.  1 67  :   frescoes, 

214. 


Vecelli,  Tiziano.  47.61. 
Vela.  Vincenzo.  177.  226. 
Last     doj/s     of    Napoleon, 
178.* 
Velazquez,  257,  344. 
Velleia.2b\. 

Veneto,     Bartolomeo,     56,   57, 
161. 
The    Goldsmith's   daughter, 
58.* 
Veneziano,  Lorenzo,  38,  39. 

Annunciation,  39.* 
Venice,   2.  12-97.    116.    117. 
118.  121.  124.  155.  170, 
178,  182.  188,  195,  220, 
224,  235.  239.  249.  255, 
261,  277,281,284,  325, 
337.  345. 
Churches. 
Carmini.  82. 

Frari.    19.    20.   26,   66;   5. 
Jerome       (.statue),        35; 
trgptych,  53.* 
Redenlore,  32,  118. 
Salute,  The,  33,*  34,  82. 
S.  Eustacchio,  19. 
S.     Francesco     della    Vigna 

(nave),  30. 
S.  Giorgio  dei  Greci,  25.  27.* 
S.  Giorgio  Maggiore,  32. 
S.  Giovanni  Crisostomo,  22, 

62. 
S.     Giovanni     Elemosinario. 

23. 
SS.   Giovanni   e   Paolo.    19, 
20,87;    monuments,  16.* 

21.*23.  24.  25.*26. 

S.  Lorenzo.  2 1 . 

S.  Marco,  14. 

S.  Maria  "Formosa.  62. 

S.  Maria  Gloriosa  dei  Frari 
(see  Frari). 

S.  Maria  dei  Miracoli.  23, 
25.* 

S.  Maria  deU"  Orto,  17,*  20. 

S.  Mark's,  base  of  flagstaff, 
26,  28;  *  bronze  horses, 
1 2,*  1 5  ;  Campanile,  1 7, 
23:  iLogetta),  19,*  30, 
33  ;  *  bronze  gates,  36  ;  * 
clock-tower,  19;*  Interior, 
13;*  mosaics,  80 ;  Piazza, 
]9,*  22  ■.ZenoChapel,24. 

S.  Mark's,  Company  of,  76. 

S.  Michele  di  Muranot  22. 

S.  Moise,  35.* 

370 


S.  Salvatore,  23,*  24  ;  Statue 
ofS.  Sebastian,  35;  Venter 
monument,  30,*  31. 

S.  Sebastiano,  30,31,87. 

S.  Stefano,  17,*  20,  86. 

S.  Zaccaria,  14.20,*22,35. 

Torcello  (cathedral),  14. 
Palazzi. 

Angaran  Dario,  25. 

Balbi  (nowr  Guggenheim), 
32* 

Businello,  18. 

Casa  degli  Evangelisti,  19. 

Contarini  dal  Bovolo.  22. 

Contarini-Fasan,  15.*  19. 

Corner,  S.  Maurizio,  30.  3 1  .* 

Corner  Spinelli,  24,  26.* 

DaMosta,  18. 

Doge's,  1 4  ;*  courtyard,  22  ;* 

Porta    della    Carta,     19,* 

21 ;  Scala  de  Giganti,  22.* 
Dona  (Sicher),  18. 
Ducal,  17.  19,  21,  22.  23. 

24.  26.  31,  32.  40.  51, 

81,235;  /I rcoFoscari,  22; 

Sala     de    Maggior    Con- 

siglio,     39.      74  ;      Scala 

d'Oro,  23. 
Farsetti     {.now     MuniciiHo), 

14.*   18. 
Fondaco  dei  Turchi  (.now  the 

Museo  Civico) ,  15,*   18. 
Grimani,  S.  Luca,  29.* 
Grimani,  S.  Polo,  24. 
Loredan,  18. 
Malipiero,  25. 
Manin    (now    the    Bank    of 

Italy).  30. 
Manzoni     {now     Montecuc- 

coli),  23,*  24,  25. 
Minelli,  staircase,  20.* 
Montecuccoli,  see  Manzoni. 
Pesaro  {now  the  Municipio), 

34.* 
Pisani,  S.  Pola,  18.* 
Rezzonico     (now    Minervi), 

34.* 
Sibanti,  18. 
Vendramin  Calergi,  21,*  23. 

Qeneral  Topography. 
Academy,  53.  74.  94,  95. 
Archaeological  Museum,  26. 
Bridge  of  Sighs,  35.* 
Ca'D'Orso,  16,*  21. 
Carceri  (Prison),  32. 
Carita  Convent,  32. 
Casa  degli  Evangelista,  19. 


INDEX 


Colleoni  monument,  27.* 

Gallery,  70. 

Grand  Canal,  1 8,  24. 

Jesolo,  ruins  of,  14. 

Ubreria,the,30,3l.*32,81. 

Mint,    the   (now  the  Biblio- 

teca),  30,*3I. 
Ponte  de'  Sospiri,  34. 
Procuratie  Nuove,  32.* 
Procuratie  Vecchie,  23. 
Rialto,  13:  bridge,  29*  33; 
Fabbriche      Nuove,      31  ; 
Fabbriche  Vecchie,  23. 
Scuola    Grande    of   S.    John 

the  Evangelist,  50. 
Scuola    di    S.    Marco    {now 
<Ae  Hospital),  18.*  22,  24. 
Scuola  di  Misericordia,  30. 
Scuola  di  S.  Orsola,  47. 
Scuola  di  S.  Rocco,  22,*  23, 

84. 
Zecca  (the  Mint),  31. 
Venier,  Antonio,  18. 
Ventimiglia. 
S.  Michele.  233. 
Theatre,  230. 
Venturi,  Adolfo,  306. 
Venturoli,  Angelo,  296. 
Vercelli.  209,  210.  21 1.  212, 
213. 
S.Andrea,  206,  208;*  fres- 

coes,  207. 
S.  Cristoforo,  frescoes,  214. 
Verdi,  Giuseppe,  67. 
Veria,   Francesco,  105,  119. 
Vermiglio.  G.,  219. 

NatiaitV.  218.* 
Verona,   13,  27,  41,98,  104, 
110-127,  153,  154. 
Palazzo  del   Consiglio,    111, 

113.* 
Porta  dei  Leoni,  I  1 0. 
Porte  dei  Borsari,  1  10. 
S.  Anastasia,  111,  112.* 
S.  Fermo  Maggiore,  111.* 
S.  Maria  (in  Organo),  111. 
S.Zeno,  111,*  114. 
Tomb*  of  the  Scaligeri,  111, 
112.* 
Veronese,  Bonifazio,  67. 

Dives  and  Lazarus,  67.* 
Veronese,  Giulia,  79. 
Veronese,    Paolo,  38.  63,  64. 
67,  72.  73,  74, 75,  78,  79, 
82,89,92,93,  116. 
Abundance,       73 ;  *       The 
Apotheosis  of  Venice,  74  ;* 
The    Communion    of    S. 
Cregoru,  74;    The  Feast 


in  the  House  of  Leui,  74  ; 
Hercules  and  Ceres,  74 ; 
The  Last  Supper,  75  ; 
The  Marriage  Feast  at 
Cana,  74  ;  The  Natioily, 
75  ;  S.  A  nthony  enthroned 
between  SS.  Cornelius  and 
C\)prian,  73  ;  *  The  Supper 
at  the  House  of  Simon  the 
Pharisee,  74. 
Verres,205. 

Castle,  stairs,  206.* 
Verri,  Alessandro,  172. 
Verri,  Pietro,  1 72. 
Venochio,  Andrea. 

7"AeCo//eom,26,  27,*315, 
320. 
VerrorK,  2 1 2. 
Vezzolano. 

Abbey,  206,  207.* 
Via  Emilia,  26\ ,  264. 
Viana,  Antonio  Maria,  107. 
Viani,  Gian  Mana,  344. 
Kicenza,  33,  54, 1 0 1 ,  11 0- 1 27. 
239. 
Basilica      Palladtana,       1 1 8, 

121.* 
Biblioteca  Bertoliana,  1  19. 
Bridge  of  S.  Michele,  118. 
Cathedral,  1  17,  120,  121  .* 
Columns,  the.  I  19. 
Loggia    de   Capitanio,    1 1 8, 

119. 
Monte  di  Pieta,  1  19. 
Museum,  120. 
Palazzo  del  Comune,  1  1 8. 
Palazzo  de  Signori,  I  1 9. 
Palazzo  Trissino,  see  Palazzo 

del  Comune. 
Palazzo  Valmarana  (formely 

Palazzo  Trento),  I  19. 
Rotunda,  118. 
S.  Corona,  1  1  7. 
S.  Lorenzo,  117;   Apse  and 

BellToreer,  122.* 
S.  Michele,  119. 
S.  Vincenzo,  1  1 9. 
SS.   Vito    e    Modesto   (now 
SS.    Felice    e    Fortunalo), 
117. 
Teatro  Olimpico.  1  1 8,  1 22.* 
Tower,  the,  119. 
Villa  Ganzerla.  101. 
Vico,  ELnea,  321. 
Vicoforte. 

Church.  223.* 
Victor    Amadeus     II.     (after- 
wards    King    of    Sicih)), 

220.221. 

371 


Victor  Ejnmanuel  I.,  224. 
Victor  Elmmanuel  II.,  227. 
Vienna,  60. 
Viero,  Teodoro,  92. 
Vigarani,  Gaspare,  297. 
Vigevano,  Castle  of,  1 39. 
Vighi,  Giacomo,  218. 
Vignola,  291,293. 
Vincenzo,     Antonio    di,    268. 

280. 
Virgil,  107. 
Visconti,    Filippo  Maria,    1  1 3, 

247. 
Visconti,  Gian  Galeazzo,  199. 
Visconti,  Matteo,  131. 
Visconti,  the,  130,133. 
Visentini,  Antonio.  89. 
Vismara,  Gaspare,  1 76. 
Viti  of  Urbino,  Timoteo,  312. 
Vitruvius,  139,291. 
Vittone,  Bernardo,  223. 
Vittoria,    Alessandro,    32,    34, 

35,  79. 
Statue  ofS.  ferome,  35.  37.* 
Vittorino  da  Feltre,  1  1 3. 
Vittozzi.  Ascanio,  221. 
Vivarini,    Alvise,    45,  46,   53, 

54.69.71.  119.  192. 
Virgin  and  Child,  47.* 
Vivarini,  Antonio,  40,  4 1 . 
Virgin  and  Saints,  42.* 
Vivarini,  Bartolomeo,  41 ,  42. 
Vivarini,  the,  63. 
Volpato,  Giovanni,  92. 
Volpi    (Volpino),     Ambrogio, 

211. 
Volpino,  see  Maestri.  G.  B. 
Volta,  Alessandro.  1 72. 
Vouet,  Simon,  220,  251 . 


w. 

Wals,  Gottfried,  251. 
Wilhelm   of  Cologne,   Meistef, 

153. 
Wiligelmo,  266. 
Winckelmann,  Johann,  94. 
IVarzburg,  93 


Zaccagni,  Bernadino,  281. 
Zacchi,  Gabriele,  282. 
Zacchi,  Zlaccaria,  282. 


INDEX 


Zaccolini,  Matteo,  299. 
Zaganelli,     Bernardino,     3 1 3, 

317.  321. 
Zaganelli,  Francesco,  315,317, 

321. 
Zaganelli,   B.   and    F.  (Cotig- 

nola),  315,  316. 
Virgin      and     Child     with 

Saints,  316.* 
Zais,  Giuseppe,  91 . 
Zaist,  194. 


Zambianchi,  Giulio,  299. 
Zampieri,       Domenico  :       see 

Domenichino. 
Zanchi  of  Elste,  Antonio,  84. 

The  Plague  of  1630,  84.* 
Zanetti,  Antonio  Maria,  92. 
Zanoia,  Giuseppe,  1  72. 
Zarabatta,  Francesco,  176. 

Justice,  174.* 
Zavattari,  Ambrogio,  1 54. 
Zavattari,  Gregorio,  1 34. 


Zavattari,  the. 

Episode  in  the  Life  of  Queen 
Theodolinda,  154.* 
Zenale,     Bernardo,    123,   155, 
136. 

Two  Saints,  156.* 
Zona,  Antonio,  %. 
Zoppo,  Marco,  101,  305,  307. 

Field,  307. 
Zuccarelli,  Francesco,  91 . 
Zuccari,  Federico,  167,  218. 


COLOURED  PLATES. 


Virgin  and  Child.    Giovanni  Bellini.     (Church  of  the  Frari,  Venice) 
Portrait  of  a  Lady  iknoTun  as  La  Bella  di  Tiziano).     Titian.     (Fitti  Gallery, 


Florence)  

Virgin  and  Child.     Bernardino  Luini.    (Brera  Gallery,  Milan)     . 

Virgin  and  Child  with   S.    Jerome    {known    as   II   Giomo).    Correggio. 
(Gallery,  Parma) 


Frontispiece 

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